{"data":{"all":{"edges":[{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"When Sunita called Govinda 'a very good husband'"},"content":{"text":"Bollywood actor Govinda and Sunita Ahuja have been a topic of discussion for some time now due to trouble in their marriage. However, there was a time when Sunita said that she is fortunate to have a husband like Govinda.  When Govinda and Sunita appeared on the popular chat show, 'Rendezvous with Simi Garewal', host and veteran actress Simi Garewal had asked Sunita what was the best thing about being married to Govinda. \"Basically, he is a very good man. He never lies,\" Sunita had replied. However, as Govinda laughed at this, Sunita teased him, saying, \"Don't laugh, otherwise I am going to speak the truth.\" When host Simi Garewal inquired if Sunita was not being truthful, she clarified that she was only pulling Govinda's leg. Praising Govinda as a husband, she went on to say, \"He is a very good husband, I am not lying, and I am very lucky to have a husband like him.\" It must be noted that Sunita filed for divorce in Bandra Family Court back in December 2024. If the reports are to be believed, the court had ordered counseling sessions; however, Govinda was reluctant to attend. Sunita even recently shamed Govinda publicly for his alleged relationship with newcomer Komal Rani Swarnkar. Reacting to this, Govinda had uploaded a video on social media, warning Sunita to be mindful of her language. On Aug 19 this year, Sunita withdrew her divorce petition. Confirming this, Govinda's manager, Shashi Sinha, told, \"The petition Sunita ji had filed in the court earlier; she had gone to withdraw it.\" Govinda even issued a public notice, warning netizens, media institutions, digital platforms, and content creators not to publish or share any false, defamatory, malicious, fabricated, or unverified material related to him or his family. Govinda warned of claims up to ₹100 crore against those found guilty."},"img":{"url":"https://images.prismic.io/prad/aK8wzmGNHVfTOYFb_govindasunitha.JPG?auto=format,compress"},"datetime":"2026-09-08T12:35:00+0000","embed":{"embed_url":null}},"uid":"when-sunita-called-govinda-a-very-good-husband"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Ranveer & Deepika wait for the arrival of baby no 2"},"content":{"text":"As Bollywood's power couple, Ranveer Singh and Deepika Padukone wait for the arrival of their baby no 2, they treated their Instagram family with some adorable family pics with the big sister to be Dua.  On Tuesday, Ranveer and Deepika dropped a joint post with the caption, \"Baby Dua and our hearts are getting bigger! Thank you for your blessings! (Evil eye and folded hands emojis) @deepikapadukone (sic).\" The black and while pictures from the maternity photoshoot feature Dua, who looked all grown up, sharing an infectious laught with mom Deepika and father Ranveer. We could also see Deepika flaunting her baby bump in these adorable pictures of the three. Dua wore a collared top with trousers, and her hair was tied in two ponytails, adorned with ribbons. Deepika, on the other hand, looked as gorgeous as ever in a net flower top. Ranveer accompanied the two ladies in a simple shirt and pants. Ranveer's 'Dhurandhar' co-star Sara Arjun reacted to the post with a heart-melting comment, saying, \"The most adorable family (evil eye and red heart emoji)towchwood (hug emoji).\" Another member from the 'Dhurandhar' family commented, \"Mashallah beautiful (red heart emojis)\". Filmmaker Atlee, who is directing Deepika in 'Raaka', dropped several red heart emoticons in the comment section. Deepika and Ranveer announced that they are expecting their second child together in April this year. Making the happy announcement on social media, the couple shared a joint post with a picture of Dua holding a pregnancy test kit showing a positive result. After keeping their admirers guessing about their relationship for years,  Deepika and Ranveer finally tied the knot in an intimate yet lavish ceremony at Lake Como, Italy, in November 2018. Deepika and Ranveer welcomed their first child, daughter Dua on September 8, 2024. "},"img":{"url":"https://images.prismic.io/prad/L0gYH0uXD8miaNM3_ranveerdeepika.JPG?auto=format%2Ccompress&rect=0%2C18%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-08T14:30:00+0000","embed":{"embed_url":null}},"uid":"ranveer--deepika-wait-for-the-arrival-of-baby-no-2"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Rajpal Yadav Gets 5-Crore Relief"},"content":{"text":"The Supreme Court on Tuesday agreed to hear a plea filed by actor and comedian Rajpal Yadav and his wife challenging the Delhi High Court judgment upholding their conviction in multiple cheque dishonour cases, and granted them exemption from surrendering, subject to a deposit of Rs 5 crore.  A Bench of Chief Justice of India (CJI) Surya Kant and Justices Joymalya Bagchi and V. Mohana took the special leave petitions (SLPs) on board after they were mentioned before the apex court and issued notice conditionally, returnable on September 15. \"On the oral mentioning, the special leave petitions are taken on Board,\" the CJI Kant-led Bench said in its order. The Supreme Court further directed that the petitioners would be exempted from surrendering, subject to depositing Rs 5 crore with the registry of the top court by Wednesday. \"Subject to deposit of Rs 5 crore by the petitioners with the Registry of this Court by tomorrow, they are granted exemption from surrendering,\" the SC ordered. The SLPs have been filed by Rajpal Yadav and his wife challenging the Delhi High Court's judgment, which upheld their conviction in seven cheque dishonour cases under the Negotiable Instruments Act. The Delhi High Court had on July 10 upheld Rajpal Yadav's conviction while reducing his sentence from six months to three months' simple imprisonment in each of the seven cases. It had also reduced the fine from Rs 1.60 crore to Rs 1.05 crore in each case, with all substantive sentences directed to run concurrently. The High Court had taken into account the payments already made by the actor to the complainant M/s Murli Projects Pvt Ltd during the pendency of the proceedings. The petitions before the Supreme Court contended that the High Court failed to consider a subsequent consent agreement between the parties under which the earlier security cheques were allegedly to be returned, and fresh cheques were issued. The petitioners have relied upon the apex court's judgment in M/s Gimpex Private Limited v. Manoj Goel, contending that the subsequent agreement between the parties ought to have brought an end to the original complaint proceedings and that the cheques in question were no longer valid. According to the petition, the parties had entered into four agreements in connection with a film being produced by Rajpal Yadav, after the earlier agreements could not be fulfilled within the stipulated timelines. The petitioners have claimed that under the fourth agreement, also described as a consent agreement dated April 21, 2013, the eight security cheques issued under the previous agreement were to be returned, and four fresh cheques of Rs 10 crore were issued. The petitioners have claimed that the respondent did not return the eight security cheques and instead proceeded with the prosecution after seven of those cheques were dishonoured. They have also argued that the trial court and appellate courts failed to consider the effect of the subsequent consent agreement and the contention that the cheques forming the basis of the complaints were no longer enforceable. Earlier, the Delhi High Court had dismissed the revision petitions filed by the actor and his wife, holding that the challenges to the conviction were barred by an extraordinary delay of 1,894 days and refusing to interfere with the findings of the courts below. The High Court had also observed that despite repeated opportunities and indulgence to facilitate an amicable settlement, Rajpal Yadav had failed to honour undertakings given before the court. \"Needless to state that in case a litigant wishes to choose the path of imprisonment rather than abiding by multiple undertakings given by him in the Court, it is entirely his choice. Law is not a script that can be rewritten at the will of an actor, nor can legal positions be altered with every change of strategy, whosoever the litigant may be. Courts adjudicate on the basis of settled legal principles and the record before them,\" Justice Swarana Kanta Sharma had observed. The High Court had reduced the fine to Rs 1.05 crore in each of the seven cases, totalling Rs 7.35 crore. Out of the fine amount in each case, Rs 1,04,75,000 was directed to be paid to M/s Murli Projects Pvt Ltd, while Rs 25,000 was to be credited to the State. The High Court had also suspended the modified sentence for two months to enable the petitioners to avail themselves of remedies available in law."},"img":{"url":"https://images.prismic.io/prad/aYM3c90YXLCxVW7h_rajpalyadav.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-08T13:30:00+0000","embed":{"embed_url":null}},"uid":"rajpal-yadav-gets-5-crore-relief"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Meta Ran 300+ AI Child Abuse Ads"},"content":{"text":"Meta’s Facebook and Instagram platforms carried more than 300 paid advertisements featuring child $exual abuse material (CSAM) this year, including AI-manipulated images of real children, according to an investigation by the Tech Transparency Project (TTP).  The investigation found that many of the advertisements used photographs of real children that had been taken from social media posts and websites. The images were subsequently manipulated using artificial intelligence to make it appear as though the children were involved in explicit $exual acts. In one particularly disturbing case, a photograph of a minor member of a European royal family that had been publicly released last year appeared in an advertisement on Facebook and Instagram. The image was digitally transformed into a video depicting the child performing a graphic $ex act. The advertisement promoted a Chinese AI application and was reportedly targeted at adult male users. According to TTP, the more than 300 advertisements identified in its investigation featured children ranging from toddlers and preteens to young teenagers. Most followed a similar format, beginning with a snippet of adult pornography before showing an image of a child that had been manipulated with AI. The advertisements also appeared to use recurring captions, voiceovers and background music. TTP said it was able to identify multiple photographs of actual children used in the advertisements, raising concerns that images publicly shared online can be appropriated and transformed into abusive material using generative AI tools. The investigation also found that several of the advertisements had been placed by Meta’s advertising partners in China, including a Chinese state-controlled company. The vast majority of the ads directed users toward AI applications developed in China, with many of the apps offering or enabling so-called “nudification” capabilities that digitally remove clothing or createc$exually explicit versions of images. Meta did not initially respond to TTP’s request for comment. However, after the organisation shared its findings with the company, Meta carried out a rapid cleanup of its advertising ecosystem. About 150 advertisements that were still available in Meta’s Ad Library were removed, according to TTP. Meta also updated records for more than 100 advertisements that had already been taken down, newly classifying them as violations of its child-exploitation policies. TTP said those advertisements had previously been categorised under Meta’s adult-oriented policies without explicitly identifying the involvement of children. The discrepancy has raised questions over whether Meta’s existing systems may be undercounting cases involving child $exual exploitation, particularly when AI-generated or manipulated imagery is involved. A Meta spokesperson said the company does not tolerate “nudify apps or any kind of child exploitation, whether real or AI-generated.” The spokesperson added that many of the advertisements identified by the investigation had already been removed and that Meta continues to strengthen its detection and enforcement systems."},"img":{"url":"https://images.prismic.io/prad/Z7rb757c43Q3gGjp_meta.JPG?auto=format,compress"},"datetime":"2026-09-08T15:00:00+0000","embed":{"embed_url":null}},"uid":"meta-ran-300-ai-child-abuse-ads"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"CPI(M) to fight ED move against Vijayan legally, politically"},"content":{"text":"The CPI(M) in Kerala is gearing up to fight, both legally and politically, the Enforcement Directorate’s move to pave the way for a corruption case against former two-time Chief Minister Pinarayi Vijayan.  State party secretary M.V.Govindan on Tuesday said the party will defend Vijayan legally and politically. The ED’s latest action threatens to cast a shadow over the party’s extended state committee meeting being held at Kozhikode over three days starting on Saturday to discuss organisational shortcomings and corrective measures. The ED has submitted a report to the Director General of Police under Section 66(2) of the Prevention of Money Laundering Act, seeking action under the Prevention of Corruption Act. The report contains details of the evidence allegedly unearthed during the agency’s investigation into the monthly payment case. The ED has also sought action against his son-in-law, P.A.Mohammed Riyas, a party MLA, and his wife, Veena T. The ED’s move could have wider implications for the case. Registration of an FIR under the Prevention of Corruption Act would enable the agency to proceed with further action in the monthly payment case. The ED has alleged that Exalogic Solutions received Rs 2.78 crore from Cochin Minerals and Rutile Ltd (CMRL) without providing any services in return. The agency has taken the view that the transaction falls within the ambit of money laundering. The immediate question is how the state government will respond to the ED’s recommendation. The police will have to take a position on the demand to register an FIR, potentially putting the government in a politically sensitive situation. State Home Minister Ramesh Chennithala said the State Police Chief would submit his views to the Home Secretary, following which the matter would come before him and be discussed with the Chief Minister before a decision is taken. The development has already triggered a political attack from Revolutionary Socialist Party MP N.K. Premachandran. He said the ED’s move was based on clear evidence and that what had emerged so far was only the tip of the iceberg. “This is a new experience in left-wing politics. The CPI(M) must take a stand on the issue and make its position clear. What has emerged against a senior leader is a serious corruption allegation,” Premachandran said. He alleged that all of Vijayan’s arguments had collapsed and Vijayan was not responding to the allegations raised by the ED. “The CPI(M) cannot escape responsibility. More cases will emerge,” Premachandran said. For the CPI(M), the timing is particularly uncomfortable, with the extended state committee meeting examining the reasons for the party’s electoral setback and discussing measures for course correction. The ED action against its top leader is now set to add a major political dimension to those deliberations."},"img":{"url":"https://images.prismic.io/prad/dfb6f2bd-6dd3-46a0-a060-69c613b1fc75_vijayan.JPG?auto=format,compress"},"datetime":"2026-09-08T16:35:00+0000","embed":{"embed_url":null}},"uid":"cpim-to-fight-ed-move-against-vijayan-legally-poli"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Trump Backs New H-1B Fee Push"},"content":{"text":"US President Donald Trump used his Labour Day proclamation to promote a proposed new fee on H-1B visa petitions, saying it would encourage American companies to invest in US workers before looking overseas for talent. “To ensure we are hiring and training American workers, we are proposing a new fee on H-1B visa petitions that will encourage companies to invest in qualified Americans before looking overseas for labour,” Trump said in the proclamation on Monday (local time). The presidential endorsement puts the politically sensitive H-1B visa programme directly into Trump’s Labour Day message, which focused heavily on manufacturing, trade, tariffs and protecting American jobs. The H-1B programme is widely used by US technology companies and other employers to hire highly skilled foreign professionals. Indian nationals have historically constituted the largest group of H-1B beneficiaries, making changes to the programme closely watched in India and among the Indian professional community in the United States. The fee cited by Trump is not a new levy imposed on Monday. The Department of Homeland Security last month proposed establishing a $103,265 fee for all H-1B petitions subject to the annual numerical cap, including petitions eligible for the advanced-degree exemption. Under the proposed rule, the fee would be paid when the petition is filed and would be in addition to other applicable immigration fees. The administration says the money would help cover federal costs associated with administering the lawful immigration system. Trump presented the H-1B proposal as part of a broader economic strategy aimed at giving preference to American workers. “After decades of disastrous trade policies that surrendered our industrial strength to foreign nations, companies are now returning home, investing trillions of dollars into the United States economy, and adding over 900,000 American jobs,” Trump said. He credited what he called his “protective tariffs” with shielding US workers from foreign competition and said American manufacturing had expanded for six consecutive months. “Our Nation is entering a bold new era of American manufacturing, technological innovation, and economic prosperity -- powered by the might of the American worker,” Trump said. The proclamation formally designated September 7 as Labour Day and called on Americans to honour the contributions and resilience of workers. The administration’s latest H-1B proposal follows a separate attempt by Trump to impose a $100,000 fee on new H-1B visas. A federal judge in Massachusetts struck down that fee in June, ruling that the administration had exceeded its authority. A federal appeals court in July rejected the administration’s request to suspend that ruling while the case proceeds. The new $103,265 proposal is being pursued through the federal rulemaking process rather than taking immediate effect. It applies to cap-subject H-1B petitions and remains a proposed rule, meaning employers are not being charged the new amount merely because of Trump’s Labour Day proclamation."},"img":{"url":"https://images.prismic.io/prad/aXEFSAIvOtkhByE7_trumpamerica.JPG?auto=format,compress"},"datetime":"2026-09-08T02:29:00+0000","embed":{"embed_url":null}},"uid":"trump-backs-new-h-1b-fee-push"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Madhuri Watched Her Own Film in Burqa"},"content":{"text":"Did you know that Bollywood's 'Dhak Dhak' girl once went to the cinema hall wearing a burqa to watch her own movie, 'Teezab'.  She had gone to the theatre to witness the craze for her song 'Ek Do Teen' from the movie. During her appearance on 'The Kapil Sharma' show, host Kapil Sharma asked her if she had ever gone to watch her own movie. To this, Madhuri shared the fun incident saying, \"Yes, I went to watch my own movie. Actually, everyone said that the song 'Ek Do Teen', has become very popular. 'You don't know, it is so much fun in the theatre.' So I went to watch it in the Chandan Cinema; it is a single theatre. So I wanted to see it there.\" \"I went inside wearing a burqa and sat down. Sometimes they used to switch off the AC there, so I started sweating in the burqa. I was waiting for the song 'Ek Do Teen', and as soon as it started, we were sitting in the front row; the coins started coming from the back and fell on our heads. We ran away from there.\" Madhuri added that while they thought that since she was in disguise, no one would come to know that she had come to watch the movie. However, to her surprise, as soon as they stepped out of the theatre and went to the lobby, people recognized her and started saying, 'Madhuri has come'.\" Talking about 'Tezaab', the 1988 romantic actioner was directed by N. Chandra. With Madhuri and Anil Kapoor as the lead pair, the project also saw Anupam Kher, Chunky Panday, Kiran Kumar, and Suresh Oberoi as the supporting cast. Released on 11 November 1988, 'Tezaab' turned out to be the highest-grossing Hindi film of the year, enjoying a golden jubilee run in the cinema halls."},"img":{"url":"https://images.prismic.io/prad/aAN8ROvxEdbNPPtI_madhuri.jpg?auto=format,compress"},"datetime":"2026-09-08T12:20:00+0000","embed":{"embed_url":null}},"uid":"madhuri-watched-her-own-film-in-burqa"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"పీకే: అమరావతి రాజకీయాల్లో ఒక 'యాదృచ్ఛిక' నేత?"},"content":{"text":"రాజకీయ శాస్త్రవేత్త బెెంజమిన్ బార్బర్ ఒకచోట అంటారు: \"వ్యక్తిగత ఆకర్షణ (గ్లామర్) కేవలం ఎన్నికల ప్రచారానికే పరిమితం, కానీ వ్యవస్థ నడవడానికి ఒక పద్ధతి, ప్రణాళిక అవసరం. జనాలను ఉర్రూతలూగించే భావోద్వేగాలు, నిత్యం సాగే పరిపాలనా క్రమశిక్షణకు ప్రత్యామ్నాయం కాగలవని భావించడమే ఒక ప్రజాకర్షక నాయకుడి అతిపెద్ద పొరపాటు.\" నిజమే, కేవలం సినీ గ్లామర్ లేదా స్టార్ పవర్ ఒక నాయకుడిని అధికార పీఠం వైపు నడిపించగలదేమో కానీ, ఒక రాష్ట్రాన్ని సమర్థవంతంగా పాలించడంలో సాయపడలేదు. మైకుల ముందు గర్జించడం వేరు, సచివాలయంలో కూర్చుని ఫైళ్లను కదిలించడం వేరు. ప్రజాదరణను చూసుకుని పరిపాలనా బాధ్యతలను, సంస్థాగత క్రమశిక్షణను విస్మరిస్తే ఎలాంటి పరిణామాలు ఎదురవుతాయో చెప్పడానికి చరిత్రలో అనేక ఉదాహరణలు ఉన్నాయి. రష్యాను పాలించిన చివరి చక్రవర్తి జార్ నికోలస్-2 దీనికి సరైన ఉదాహరణ. తన తండ్రి అలెగ్జాండర్-3 మరణానంతరం అనుకోకుండా సింహాసనాన్ని అధిష్టించిన నికోలస్, ఆ భారాన్ని మోయలేక కన్నీళ్లు పెట్టుకున్నాడు. \"నేను చక్రవర్తి కావడానికి సిద్ధంగా లేను, నాకు అసలు పరిపాలనే తెలియదు\" అని అతడు తన సన్నిహితుల వద్ద వాపోయాడు. కఠినమైన నిర్ణయాలు తీసుకునే ధైర్యం లేక, ఎవరు చెబితే దానికి తల ఊపుతూ కాలం వెళ్లదీశాడు. ఆ నిష్క్రియాత్మకత, నాయకత్వ రాహిత్యమే చివరికి 300 ఏళ్ల రోమనోవ్ వంశ పాలన అంతమవడానికి, రష్యాలో విప్లవానికి దారితీసింది. ప్రస్తుత ఆంధ్రప్రదేశ్ రాజకీయ ముఖచిత్రాన్ని నిశితంగా గమనిస్తున్న విశ్లేషకులకు ఈ రష్యన్ చక్రవర్తి కథే గుర్తుకొస్తోంది. రాష్ట్రాన్ని శాసించాల్సిన ఉప ముఖ్యమంత్రి పవన్ కళ్యాణ్ (PK) తీరు చూస్తుంటే, ఆయన కూడా అదే స్క్రిప్టును తెలుగులోకి రీమేక్ చేస్తున్నారా అన్న అనుమానాలు బలపడుతున్నాయి. డిప్యూటీ సీఎం హోదాను ఆయన ఒక 'పార్ట్-టైమ్' బాధ్యతలా మార్చేస్తూ, రాజకీయాలలో సరికొత్త కనీసవాదానికి (Minimalism) తెరలేపారు. పవన్ కళ్యాణ్ రాజకీయ ప్రస్థానాన్ని పరిశీలిస్తే అందులో తీవ్రమైన వైరుధ్యాలు కనిపిస్తాయి. వ్యవస్థను బద్దలుకొడతానంటూ సింహగర్జనతో మొదలైన ప్రస్థానం, కాలక్రమేణా రకరకాల అవతారాలు ఎత్తింది. ఒకవైపు ఉగ్రరూపంతో సనాతన ధర్మ రక్షకుడిగా ఫోజులిస్తూనే, మరోవైపు \"నేను ముఖ్యమంత్రి రేసులో లేను, నాకంత సీన్ లేదు\" అంటూ తత్వాలు పలకడం మొదలుపెట్టారు. ఈ దార్శనిక తిరోగమనం క్యాబినెట్ సమావేశాల్లో ఆయన గైర్హాజరీలో స్పష్టంగా కనిపిస్తోంది. దీనికి తోడు, ఇటీవల జరిగిన \"భుజం సర్జరీ\" వ్యవహారం సామాజిక మాధ్యమాల్లో ట్రోలింగ్‌కు గురైంది. ప్రజల్లో తీవ్రమైన వ్యతిరేకతను మూటగట్టుకుంటున్న కూటమి ప్రభుత్వ పాలకులపై 'వాచ్‌డాగ్' (కాపలాదారు) లా వ్యవహరించాల్సిన పవన్, ఆ భారాన్ని తన భుజాలపై మోయలేకపోతున్నారంటూ మీమ్స్ వెల్లువెత్తాయి. అది నిజమైన అనారోగ్యమా లేక పరిపాలనా శ్రమ పట్ల ఉన్న విరక్తా అన్నది పక్కన పెడితే, వ్యవస్థాగత బాధ్యతల నుంచి ఆయన తప్పుకుంటున్నారనే బలమైన సంకేతాన్నైతే ప్రజల్లోకి తీసుకెళ్లింది. జనసేనాని రాజకీయ ప్రస్థానం చూస్తుంటే అద్భుతమైన టీజర్లు తప్ప, థియేటర్లలోకి రాని సినిమాను తలపిస్తోంది. పాలన అంటే కేవలం సెల్యులాయిడ్ మేజిక్ కాదు. దానికి గంటల తరబడి క్యాబినెట్ చర్చల్లో కూర్చోవాలి, అధికార యంత్రాంగాన్ని పరుగెత్తించాలి, శాసనసభ వ్యవహారాల్లో చురుగ్గా పాల్గొనాలి. కానీ ఈ పనులన్నింటికీ పవన్ కళ్యాణ్ ఆమడదూరంలో ఉంటున్నారు. ఆశ్చర్యకరంగా, ఉప ముఖ్యమంత్రి గైర్హాజరీపై అధికార తెలుగుదేశం పార్టీ (TDP) అధినాయకత్వం ఏమాత్రం ఆందోళన చెందడం లేదు, పైగా లోలోపల నవ్వుకుంటోంది. ఎందుకంటే, పవన్ కళ్యాణ్ భుజాలపై తుపాకీ పెట్టి రాష్ట్రాన్ని తమ గుప్పిట్లోకి తీసుకోవాలని చూస్తున్న బీజేపీ జాతీయ నాయకత్వ వ్యూహాలకు ఈ మౌనం ద్వారా చెక్ పడుతుందని టీడీపీ భావిస్తోంది. పవన్ ఎంత నిష్క్రియాత్మకంగా ఉంటే, అంతగా కూటమిపై పూర్తి పట్టు సాధించవచ్చని సదరు పార్టీ పెద్దలు తెరవెనుక పావులు కదుపుతున్నారు. కానీ, ఈ పరిణామాలు జనసేన క్షేత్రస్థాయి కార్యకర్తలలో (కేడర్లో) తీవ్ర నిరాశను, గందరగోళాన్ని నింపుతున్నాయి. వ్యవస్థను మారుస్తాడని నమ్మి జెండాలు మోసిన సైనికులు, ఇప్పుడు తాము ఒక ప్రత్యామ్నాయ శక్తా లేక కేవలం ఒక రాజకీయ అతిథి పాత్రకు మద్దతు ఇస్తున్నామా అని ఆత్మరక్షణలో పడ్డారు. నాయకుడి అస్థిరమైన అవతారాలు, నిరంతర అనాసక్తిని చూసి, కేవలం ఒక సెలబ్రిటీ గ్లామర్‌పై ఆధారపడి రాజకీయం చేస్తే భవిష్యత్తు శూన్యమని వారు గ్రహిస్తున్నారు. ఒక బలమైన రాజకీయ శక్తిగా ఎదగాలంటే భావోద్వేగాలు మాత్రమే సరిపోవు, సంస్థాగత నిర్మాణం కావాలి. రష్యా జార్‌లాగే, పరిపాలనను రిమోట్ కంట్రోల్ ద్వారానో, గెస్ట్ అప్పీయరెన్స్‌ల ద్వారానో నడపలేరని పవన్ గుర్తించాల్సి ఉంది. ఒకవేళ ఆయన పాలనను ఒక స్వచ్ఛంద సేవలా భావిస్తే, ఆంధ్రప్రదేశ్‌లో ఒక స్వతంత్ర నిర్ణయాత్మక శక్తిగా ఎదగాలనే ఆయన కల కేవలం సినిమా స్క్రిప్టుగానే మిగిలిపోతుంది. వ్యవస్థను మార్చే 'కాపలాదారు' వస్తాడని నమ్మి మోసపోయిన జనసేన కార్యకర్తలకు, ఏపీ ఓటర్లకు ఇప్పుడు ప్రసిద్ధ ఉర్దూ కవి దాగ్‌ దెహ్ల్వి రాసిన లైన్లు సరిగ్గా సరిపోతాయి:“గజబ్ కియా తేరే వాదే పే ఐత్‌బార్ కియా, తమామ్ రాత్ మిలాయే సహర్ ఇంతేజార్ కియా”(నీ గొప్ప వాగ్దానాలను నమ్మి ఎంత తప్పు చేశాను; రాత్రంతా ఎదురుచూసి, చివరకు వెలుతురు లేని శూన్యమైన తెల్లవారుజామును చూస్తూ ఉండిపోయాను). పవన్ కళ్యాణ్ ఇలాగే పరిపాలనను అలసత్వంగా తీసుకుంటూ, మిత్రపక్షాల వ్యూహాల్లో చిక్కుకుంటే, ఆయనను నమ్ముకున్న శ్రేణులు కూడా ఆ శూన్యమైన తెల్లవారుజామున ఒంటరిగా మిగిలిపోక తప్పదు."},"img":{"url":"https://images.prismic.io/prad%2F19fdc093-ed0e-43a0-97f8-534e9150800a_pawan+rejected.jpg?auto=format%2Ccompress&rect=0%2C16%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-07T18:31:00+0000","embed":{"embed_url":null}},"uid":"pk-a-chance-leader-in-amaravati-politics"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Bombay HC refuses to nix defamation case against RaGa"},"content":{"text":"The Bombay High Court on Tuesday dismissed a plea filed by Congress MP and Leader of the Opposition in the Lok Sabha (LoP), Rahul Gandhi, seeking quashing of criminal defamation proceedings against him over his alleged remarks against Prime Minister Narendra Modi.  A single-judge Bench of Justice Nitin Borkar refused to interfere with the order passed by the magistrate, issuing summons to LoP Gandhi, holding that there was no manifest illegality or perversity warranting interference under Section 482 of the Code of Criminal Procedure (CrPC). \"In the absence of any manifest illegality, perversity in the impugned order, it is not a fit case for interference in exercise of inherent jurisdiction under Section 482 of the CrPC. Considering the overall facts and circumstances, this Court finds no infirmity in the impugned order,\" the Bombay High Court observed. The High Court also rejected the leader's contention that the complaint filed by a BJP member was not maintainable, holding that the BJP, being a registered national political party, is an identifiable body. Justice Borkar observed that, at the stage of considering the challenge to the summons, it could not be said that LoP Gandhi's alleged remarks were restricted only to the senior leadership of the BJP. \"On a prima facie reading of the statement describing the PM, who is member of the BJP as a 'commander-in-thief', therefore at this stage, it cannot be said that the impugned comment is limited only to the senior leadership of the party,\" the judge observed. \"Whether the imputation was in substance and what impact it will have on members of the party will have to be considered at the stage of trial. Therefore, this court finds no illegality in the order passed by the Ld. Magistrate,\" the order added. However, the High Court granted LoP Gandhi six weeks' protection from appearing before the magistrate, allowing him time to challenge the order before the Supreme Court. The defamation complaint was filed by BJP member Mahesh Shrishrimal before the Girgaon Magistrate Court over remarks allegedly made by LoP Gandhi during a rally in Rajasthan in September 2018. The complainant alleged that the leader had used expressions such as \"Choro Ke Sardar\" and \"Commander-in-Thief\" while referring to PM Modi, and claimed that the remarks lowered the reputation of the Prime Minister as well as BJP members. Shrishrimal, who claimed to have been an active member of the BJP for nearly two decades, argued that the remarks against PM Modi had a wider impact on members of the party by portraying them as \"thieves\". The magistrate, after considering the material and evidence placed by the complainant, issued summons against LoP Gandhi in August 2019. He later challenged the summoning order before the Bombay High Court, contending that the complaint filed by a BJP worker was not maintainable and seeking quashing of the proceedings. The complainant opposed Gandhi's plea, arguing that he had himself been aggrieved by the alleged defamatory remarks and had instituted the complaint in his capacity as a member of the BJP Maharashtra Pradesh Committee. The Bombay High Court had reserved its order on the plea in February this year after hearing arguments from the Congress leader, the complainant and the Maharashtra government."},"img":{"url":"https://images.prismic.io/prad/aUUbC3NYClf9ofpW_RaGaprotest.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-08T07:43:00+0000","embed":{"embed_url":null}},"uid":"bombay-hc-refuses-to-nix-defamation-case-against-r"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Neha Dhupia: Don’t have any gender biases in my head"},"content":{"text":"Bollywood actress Neha Dhupia, who has returned as a Gang Leader on the 21st edition of “Roadies”, has spoken about gender equality on the reality show, saying she has never believed in restricting people based on their gender.  Talking to media, Neha shared that the show gives female contestants a space to share their stories, opinions and experiences without making them feel less powerful than their male counterparts.  Talking about being confident in a space which is dominated by male energy, Neha told: “It's because I, in my head, don't have any gender biases. Like, I haven't been raised thinking that a girl can do this and only a boy can do this. And you won't say this here because you're a girl.” She added: “Or you'll go out there and stand in the back or you're just a boy. But at the same time, to have respect for people around me, I think the combination of that has never had any sort of…” Neha said she has never experienced gender inequality and believes the youth-based reality show gives participants, especially girls, a stage to share their stories and opinions as equals. “I've never been in a situation where I feel that, you know, I'm surrounded by people where there's any inequality of gender. And that's been my biggest voice, even when it comes to the contestants, where I know they come with their stories and I respect that.” “But their stories are also that the girls talk about how they're raised differently because they're girls and this platform actually gives them, you know, a place, a position and a point of view that they can put across, keeping aside the fact that they're a girl or the fact that they're in a place full of boys.”  “But it's really something that I don't advocate. It's something the show doesn't advocate. And it really makes you feel one amongst equals as opposed to less or more powerful.”"},"img":{"url":"https://images.prismic.io/prad/75a86ee5-b3b1-43a4-8a95-7e465ae21a6f_neha+dupiya.JPG?auto=format,compress"},"datetime":"2026-09-08T06:57:00+0000","embed":{"embed_url":null}},"uid":"neha-dhupia-dont-have-any-gender-biases-in-my-head"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"BRS MLAs booked for assaulting police"},"content":{"text":"Hyderabad Police registered a case against Bharat Rashtra Samithi (BRS) Working President, K.T. Rama Rao, BRS Deputy Leader in Telangana Assembly, T. Harish Rao, and several other party legislators in connection with Monday’s incidents at the Assembly's entrance. The BRS legislators have been booked for allegedly obstructing and assaulting police.  According to the FIR filed by Detective Inspector M Balaswamy, the leaders wearing black T-shirts with political slogans written on them, tried to force entry despite security restrictions imposed on the Speaker's orders. They allegedly abused women Constables, threatened staff, caught policemen by the collar and pushed QRT personnel. Former ministers Jagdish Reddy, Gangula Kamalakar, Sabitha Indra Reddy and Sunitha Lakshma Reddy, legislators Padi Kaushik Reddy, Shambipur Raju, Sanjay, Vijayudu, Sudheer Reddy and Kova Lakshmi were among the leaders named in the FIR. The case has been booked at Saifabad Police Station under Section 121(1), 132, 74, 79, 351, 352, 353 r/w 3(5) of the BNS. The Sections relate to offences like causing hurt to a public servant on duty; assault or use of criminal force against a woman with the intent, or knowledge, that it will outrage her modesty; gesture intended to insult the modesty of a woman; criminal intimidation; intentional insult and making false statements conducing to public mischief. Two MLCs of the BRS were on Tuesday arrested by the police for allegedly making derogatory and abusive remarks against Assembly Speaker Gaddam Prasad Kumar. MLCs Tata Madhusudan alias Madhu and N. Naveen Kumar Reddy were arrested from their houses on Tuesday morning. A case was registered against them on a complaint filed by Pollepalli Venkatesham, Officer on Special Duty (OSD) to the Assembly Speaker. The complainant stated that the Speaker, who belongs to the Scheduled Caste (Madiga) community, was intentionally insulted, humiliated and demeaned in public view before journalists, electronic media crews, Assembly staff and security personnel. It was also alleged that the remarks were made with full knowledge of his social background and were aimed at lowering his personal and constitutional standing. Based on the complaint, Saifabad Police registered a case under Section 352 r/w 3(5) BNS and Sections 3(1)(r), 3(2)(va), 3(2)(vii) of the SC/ST (Prevention of Atrocities) Act. Meanwhile, cases have also been booked against 291 leaders and workers of the BJP who tried to lay siege to the Assembly to protest over the fee reimbursement issue. Four members of the Aam Aadmi Party (AAP) have also been booked. A case has been registered with regard to the damage to the windshield of a police vehicle carrying BJP state president N. Ramchander Rao, who was detained during the protest near the Assembly. A couple of protestors had climbed on to the police vehicle carrying Ramchander Rao, resulting in damage to the vehicle."},"img":{"url":"https://images.prismic.io/prad/I5ApVf8ty4qfTvs9_BRSMLAs.JPG?auto=format%2Ccompress&rect=0%2C12%2C448%2C221&w=2028&h=1000"},"datetime":"2026-09-08T09:41:00+0000","embed":{"embed_url":null}},"uid":"brs-mlas-booked-for-assaulting-police"}},{"node":{"tags":["Editorial","featured","one"],"data":{"third_party_url":null,"title":{"text":"SIR In AP: The Wolf Upstream?"},"content":{"text":"“The burden of proof for correction rests on the shoulders of citizens, while the organization's registrations and decisions are understood as valid until proven otherwise…”- — Donald P. Moynihan and Pamela Herd, The Political Economy of Administrative Burdens This quote exposes a bitter fact on how states use administrative burdens to quietly control or strip away rights of its subjects. Once upon a time, a Wolf stood at the top of a clean stream, while a Lamb drank further down. The Wolf growled, \"You are muddying my water!\" The Lamb, using simple logic, replied, \"Sir, the water flows from you to me, not the other way around.\" Unmoved by physics, the Wolf declared, \"That is a logical mismatch! By standing there, you possess an inherent intent to contaminate.\" The Wolf then mandated that the Lamb submit a certified history of her hoof-prints to prove her eligibility to drink. Before the Lamb could even find a pencil, the Wolf noted a \"mapping failure\" in her response time and ate her—strictly to protect the river's ecosystem. If the allegations of the opposition and civil rights activists are to be believed, today, this classic fable is playing out as a grand administrative exercise called SIR across Andhra Pradesh. The allegations infer that under Article 324 of the Constitution and Section 21(3) of the Representation of the People Act, 1950, the election machinery has taken the position of the Wolf upstream. Armed with software instead of teeth, the Election Commission looks down at the voter list and declares millions of citizens to be \"discrepancies,\" force-shifting the burden of proof entirely onto the citizens, allege the critics. These complaints reflect serious operational, legal, and political disputes, directly outlining how an administrative exercise can be weaponized to disenfranchise citizens. The primary, exact complaints lodged by political parties (including the YSRCP), civil rights organizations, and the BJP center around aspects like a targeted \"sympathizers’ purge,\" data misuse through private political apps, and a massive scale of voter removal. This has attracted accusations that the sheer scale of deletions is not a correcting process, but rather an over-enthusiastic automated filtering instead of meticulous human verification. A specific technical complaint arose regarding the complete absence of 2002/2003 electoral roll data, which is legally required to map long-term voter history. This data deficit has made authentic cross-verification of historical residency impossible, leading to a high volume of arbitrary \"mapping failures.\" Unlike past annual summary revisions, the ECI introduced a mandatory requirement of producing formal documentary proof at the initial enumeration phase. Citizens complained that they were given unrealistic, short deadlines to produce deep documentation. If they failed to hand over physical papers instantly to an under-trained Booth Level Officer (BLO), they were marked as \"absent\" or \"shifted\" on the spot without due process. To ensure the Lamb never stood a chance, the state launched a \"polling station rationalization\" drive at the exact same time as the revision, alleged the opposition. This mid-process shift of booth boundaries creates chaotic structural mapping errors, effectively fragmenting family units across distant voting centers. On the ground, overworked BLOs face an acute shortage of physical registration forms, forcing them to demand instant, unrealistic on-spot proof from voters. If a citizen cannot produce immediate documentation at their doorstep, they are marked as \"absent\" on the spot. The above allegations reflect that the state doesn’t have to prove you are a fake voter; you have to prove you are a real human being. If a citizen cannot navigate the bureaucratic maze to fix a \"mapping failure\" before a strict deadline, they are quietly \"deleted\" from democracy. As economist Parakala Prabhakar pointed out in his critique, this mass deletion behaves like a \"bloodless political genocide,\" systematically wiping out the citizenship of vulnerable and marginalized groups who lack the resources to fight the upstream bureaucracy. When the opposition looks at the ongoing SIR in AP, they do not see a fair clean-up; they see an unlevel playing field. The political math is simple but devastating. On one hand, the state uses rigid automated filters to aggressively delete millions of regular voters downstream. On the other hand, the system fiercely defends the \"miracles\" that happen upstream, withholding public access to crucial verification data like token records and videography logs. By keeping the rules impossibly strict for the Lambs to get onto the voter list, while allowing the rules of physics to bend for the Wolf during the actual vote count, the machinery ensures that the house always wins. The current revision process does not erase the doubts left behind by the 2024 elections, it only furthers them, or it seems. As deadlines are extended and arbitrary hearings are scheduled, the common citizen is left trapped in a bureaucratic loop, screaming Sunny Deol's iconic words from Damini: “Tarikh par tarikh milti rahi hai... lekin insaaf nahi mila((Dates after dates have been given, but justice was never served!), proving that in the modern democratic stream, the Lamb is always wrong, and the Wolf is always thirsty."},"img":{"url":"https://images.prismic.io/prad/YKvJX6gngj-HeU7O_SIRAP.JPG?auto=format%2Ccompress&rect=0%2C22%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-08T08:07:00+0000","embed":{"embed_url":null}},"uid":"sir-in-ap-the-wolf-upstream"}},{"node":{"tags":["Entertainment","featured","three"],"data":{"third_party_url":null,"title":{"text":"Raajkamal Films Warns of Casting Fraud"},"content":{"text":"Legendary actor Kamal Haasan's production banner, Raajkamal Films International, issued a statement on Tuesday, alerting netizens to an ongoing casting fraud.  They informed that they have not hired any casting agents for any of their projects. The banner further urged all to not trust any emails, messages, and social media posts shared by any agent on their behalf. The statement published on the official X (Earlier known as Twitter) handle of the production banner read, \"This is to clarify that Raajkamal Films International has not hired any casting agents for any of our films. Please do not trust any emails, messages and social media posts received by you for this purpose (sic).\" The statement further warned that Raajkamal Films International will be forced to take legal action against anyone found using their names in an unauthorized manner.  \"Legal action will be taken if any party is found falsely using Raajkamal Films International name in any unauthorized manner. (sic),\" they added. Raajkamal Films International was founded by Kamal Haasan back in 1981 along with his brothers under the banner “Haasan Brothers,. However, later it was renamed as Raajkamal Films International.  The primary project made under the banner was the 1981 drama Raja Paarvai' , featuring Kamal Haasan in the lead. Some of their most noteworthy films include 'Apoorva Sagodharargal (1989)', 'Thevar Magan (1992)', 'Virumaandi (2004)', 'Vishwaroopam (2013)' and 'Vikram (2022)'. Up next, Raajkamal Films International is backing superstar Rajinikanth's highly anticipated drama 'Dharman'. Recently, the makers of director Ashwath Marimuthu's directorial shared that they have successfully completed the second schedule of the forthcoming movie. Raaj Kamal Films International and Kamal Haasan took to social media and shared the professional update via a post that read, \"Dharman 2nd Schedule Wrapped. Swag Mode: ON.\" The post further included a clip where Rajinikanth was seen as a senior medical faculty member lecturing junior doctors."},"img":{"url":"https://images.prismic.io/prad/yZ2cqcPVyn5hEiJB_rajkamal.JPG?auto=format,compress&rect=29,0,1042,514&w=2028&h=1000"},"datetime":"2026-09-08T10:40:00+0000","embed":{"embed_url":null}},"uid":"raajkamal-films-warns-of-casting-fraud"}},{"node":{"tags":["politics","featured","two"],"data":{"third_party_url":null,"title":{"text":"2 BRS MLCs Booked Over Remarks"},"content":{"text":"Police arrested BRS MLCs Tata Madhusudhan alias Madhu and N. Naveen Kumar Reddy on Tuesday for allegedly making derogatory and abusive remarks against Telangana Legislative Assembly Speaker Gaddam Prasad Kumar.  Madhu was arrested from his residence at the New MLA Quarters, while Naveen Kumar Reddy was taken into custody from his Kokapet residence. They had made the alleged remarks against the Speaker during a protest by the Bharat Rashtra Samithi (BRS) MLAs and MLCs at the Assembly entrance on Monday, when police had stopped them from entering the premises for wearing black T-shirts with slogans. The arrests followed a case registered against them on a complaint filed by Pollepalli Venkatesham, Officer on Special Duty (OSD) to the Assembly Speaker.  The complainant stated that the Speaker, who belongs to the Scheduled Caste (Madiga) community, was intentionally insulted, humiliated and demeaned in public view before journalists, electronic media crews, Assembly staff and security personnel. It was also alleged that the remarks were made with full knowledge of his social background and were aimed at lowering his personal and constitutional standing. Based on the complaint, Saifabad Police registered a case under Section 352 r/w 3(5) BNS and Sections 3(1)(r), 3(2)(va), 3(2)(vii) of the SC/ST (Prevention of Atrocities) Act. The alleged derogatory remarks had evoked widespread condemnation in the Assembly, with Chief Minister A. Revanth Reddy and ministers called for dismissing Madhu from the Legislative Council. Speaker Prasad Kumar had turned emotional when Minister Seethakka, while condemning the incident in the Assembly, said that she was hurt over the abusive remarks made against the Speaker's mother. Ministers had also demanded that a case under the Scheduled Castes and Scheduled Tribe (Prevention of Atrocities) Act be booked against Tata Madhu. The Bharatiya Janata Party (BJP), All India Majlis-e-Ittehadul Muslimeen (AIMIM) and Communist Party of India (CPI) also condemned the language used by the BRS MLCs against the Speaker. However, Tata Madhu had denied making any abusive or derogatory remarks against the Speaker. In a statement, the Member of Legislative Council asserted that the Congress leaders had attributed words to him that he never said. \"If the remarks I made are perceived as being directed at the Speaker, I withdraw those comments. I express regret for the same,\" he said. He alleged that BRS MLAs and MLCs were attacked when they were entering the legislature complex. The MLC said the police punched him repeatedly in the stomach. \"Despite being punched in the stomach, I did not say a word. Out of intolerance, they attributed words to me that I never uttered,\" he said."},"img":{"url":"https://images.prismic.io/prad/f1MEa0IOCsSHQytl_BRSMLCs.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-08T04:28:00+0000","embed":{"embed_url":null}},"uid":"2-brs-mlcs-booked-over-remarks"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Keneeshaa Joins Ravi Mohan Post-Separation"},"content":{"text":"Keneeshaa Francis has come on board Ravi Mohan's directorial debut, ‘An Ordinary Man’, as a composer, months after she decided to leave social media amid backlash for her rumoured relationship with Ravi Mohan.   The banner, Ravi Mohan Studios, announced Keneeshaa’s involvement in 'An Ordinary Man' via a social media post on Monday. “A new sound has entered the wild. A new chapter. The same soul. An artist you know in a way you’ve never heard before. ‘An Ordinary Man’ – One New Sound. One Heaven of a debut. CINEMA welcomes @keneeshaa1,\" read the caption of the post. Take a look!,\" they wrote. Keneeshaa also expressed her gratitude in another post, saying, “RM, the trust and integrity you’ve given me, I promise to give you all my best. Thank you for this opportunity. Blessings,\". Refreshing your memory, in May, Keneesha had announced her decision to leave social media. She penned a long note, saying that she was now tired of explaining herself, as she was not being given a chance to share her side of the story. Keneesha had written, “To the public, the cinema industry, the commentators, the people who love him, dislike him, defend him, mock him, or claim ownership over his life – he is now all yours. There will be no more explanations. No more defending. No more fighting battles that were never mine to carry in the first place. So today, I stop resisting it. I stop trying to prove goodness in rooms committed to misunderstanding it. I’ve left Chennai, I give up. I give up on my music, my therapy and all that concerned me for the life I lived this far. Man can break what God creates I guess. Online bullying, manipulation and sorcery is what I leave because of. And with that, I am logging off Instagram and all social profiles as well until God wins. I ask all my friends, family and well wishers to give me the privacy I need. As of today: Feminism, you won. Happiness, you lost. Love and Light.\" Before this, Keneeshaa had also uploaded some videos related to her alleged relationship with Ravi Mohan. However, she later deleted those videos."},"img":{"url":"https://images.prismic.io/prad/aCsBgSdWJ-7kSSJz_Keneeshaa.JPG?auto=format,compress"},"datetime":"2026-09-07T14:42:00+0000","embed":{"embed_url":null}},"uid":"keneeshaa-joins-ravi-mohan-post-separation"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Mammootty Is Dulquer’s ‘Safest Place’"},"content":{"text":"As Malayalam superstar Mammootty celebrated his 75th birthday on Monday, his son and actor Dulquer Salmaan called him his 'safest place in the world' in a heartfelt birthday post.  DQ took to his official Instagram handle and dropped a cute picture with Mammootty, accompanied by the caption, \"My safest place in the world! Then. Now. Always. Happiest birthday Pa. Love you mostest. #bestestever #milestonebirthday #foreveryoung #mydaddystrongest.(sic)\"  Several actors from the industry also used social media to pen lovely birthday wishes for the superstar. Mohanlal wrote on his social media handle, \"Happy birthday dear Ichakka! Wishing you good health, happiness, and continued success always.\" Megastar Chiranjeevi Tweeted, \"Wishing my dear bhai @mammukka a very Happy 75th Birthday...Your remarkable journey and enduring passion for cinema are truly admirable. May you always be blessed with good health, happiness, and many more wonderful years ahead.\" Actress Wamiqa Gabbi shared, \"Wishing a very happy birthday to the charismatic star @mammukka (sic).\" Marking Mammootty's 75th birthday, the makers of his next 'Mela' dropped the first-look poster. The film marks the ninth project from the superstar's production banner, Mammootty Kampany. The gripping poster shows Mammootty in a black shirt and black mundu while holding a machete. Sharing the first look from his next on social media, Mammootty had written, \"Presenting The Title & First Look Poster of Our 9th Production Venture #MELA Directed by Nithish Sahadev. (sic)\" 'Mela' is being made under the direction of Nithish Sahadev, who has previously worked in Basil Joseph-led 'Falimy' and will be distributed by Dulquer Salmaan's Wayfarer Films.  Talking about the technical crew, Vishnu Vijay (Bethlehem Kudumba Unit) is on board as the music composer, whereas Jimshi Khalid (Thallumaala) is looking after the camera work. It must be noted that this is Mammootty’s second film with the same title. Back in the 1980s, he was a part of K. G. George directorial with the same title."},"img":{"url":"https://images.prismic.io/prad/t6hN5a-CHq2WKD0d_dalquermammootty.JPG?auto=format%2Ccompress&rect=0%2C70%2C449%2C221&w=2028&h=1000"},"datetime":"2026-09-07T15:52:00+0000","embed":{"embed_url":null}},"uid":"mammootty-is-dulquers-safest-place"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"SRK, Ajay, Tiger Ad Row: HC Reserves Verdict"},"content":{"text":"The Delhi High Court on Monday reserved its verdict on the issue of jurisdiction in a plea filed by the company associated with Vimal Elaichi, challenging show-cause notices issued by the Maharashtra Food and Drug Administration (FDA) to Bollywood actors Shah Rukh Khan, Ajay Devgn, and Tiger Shroff over an alleged surrogate advertisement for Vimal pan masala.   A single-judge Bench of Justice Swarana Kanta Sharma reserved the order on whether the Delhi High Court can entertain the petition filed by the petitioner company, which has sought directions to quash the show-cause notices issued by the Maharashtra FDA.  During the hearing, the petitioner company argued that the Maharashtra FDA's notices were issued only to the actors and not to the company itself, despite the company being the entity which would suffer irreparable harm from any action against the advertisement.  The company further contended that the Maharashtra FDA did not have jurisdiction to issue directions seeking to halt the advertisement.  Opposing the maintainability of the plea before the Delhi High Court, the Centre and the Central Consumer Protection Authority (CCPA) argued that the petition should have been filed before the Bombay High Court, as the impugned action was taken by the Maharashtra FDA.  The CCPA said that while it was examining the issue independently, it had no objection to the Maharashtra FDA issuing the notices. The Delhi High Court was also informed that the CCPA was conducting its own proceedings into similar allegations concerning the advertisement but had not issued any direction against the campaign.  The matter stems from show-cause notices issued by the Maharashtra FDA to the three actors over their appearance in an advertisement for Vimal Elaichi. The regulator had alleged that the campaign amounted to surrogate advertising for Vimal Pan Masala, a product prohibited in Maharashtra, and sought explanations from the actors regarding their involvement in the advertisement.  The FDA had invoked Section 24 of the Food Safety and Standards (FSS) Act, 2006, which prohibits misleading or deceptive advertisements relating to food products. It had also referred to Section 53, which provides for a penalty of up to Rs 10 lakh for misleading food advertisements.  The notices were issued as part of the Maharashtra FDA's wider enforcement drive against gutka and pan masala products containing tobacco.  The regulator had alleged that the advertisement creates an indirect association with the Vimal Pan Masala brand by promoting another product under the Vimal name.  The FDA's notice had stated that, prima facie, the advertisement appeared to promote the Vimal brand, which was mainly associated with pan masala, a product prohibited in Maharashtra for manufacture, storage, transportation, distribution and sale for a period of one year under a prohibition order issued on July 13 this year.  The FDA had served the notice on Devgn at his residence in Juhu and on Shah Rukh Khan at Mannat in Bandra. Shroff was served the notice through his production company, Tiger Shroff Productions LLP.  Recently, the Maharashtra FDA had confirmed that it received responses from Shroff and Devgn, while Shah Rukh Khan's response was awaited.  The regulator had said it was examining the replies and would determine whether the claims made in the advertisement and the promotion of the product were in conformity with the applicable regulations before deciding on further action. The FDA had also said that a probe was underway into the allegation that the advertisement promoted the sale of a different product by using the name or form of another product through surrogate marketing.  The Maharashtra FDA, under Commissioner Tukaram Mundhe, has in recent months intensified enforcement against violations of food safety norms across the state, including action relating to adulteration and the manufacture and distribution of prohibited gutka and tobacco-containing pan masala. "},"img":{"url":"https://images.prismic.io/prad/QvzSk3--f5yH6SfI_vimalilachi.JPG?auto=format%2Ccompress&rect=0%2C13%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-07T12:49:00+0000","embed":{"embed_url":null}},"uid":"srk-ajay-tiger-ad-row-hc-reserves-verdict"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Kaleshwaram Irregularities: CBI Probe Sought"},"content":{"text":"In a decisive move signaling a commitment to transparency, the Telangana state cabinet has resolved to seek a Central Bureau of Investigation (CBI) inquiry into alleged irregularities surrounding the Kaleshwaram Lift Irrigation Project. Chief Minister A. Revanth Reddy and Irrigation Minister N. Uttam Kumar Reddy are scheduled to meet with the CBI director to discuss the specifics of this inquiry. This initiative comes on the heels of a previous assembly resolution made nine months ago, urging a thorough investigation into the project that has been mired in controversy since its inception. The cabinet meeting, which took place under the leadership of Chief Minister Reddy, also focused on crafting a 100-day action plan aimed at addressing the long-standing issue of unpaid retirement benefits for government employees. The outstanding dues, which total a staggering Rs 14,200 crore—Rs 6,200 crore for regular employees and Rs 8,000 crore for retirees—have caused significant distress among the affected individuals and their families. In response, the cabinet outlined strategies to expedite the payment process, including a proposed salary contribution from ministers and public representatives to alleviate the financial burden on the state. The decision to pursue a CBI investigation into the Kaleshwaram project comes amidst a backdrop of legal complexities following a recent Telangana High Court ruling on the Justice P.C. Ghose Commission's report. During the cabinet discussions, it was made clear that there would be no coercive actions against the former Chief Minister K. Chandrashekar Rao or former Minister T. Harish Rao regarding the case, even as the government remains committed to holding accountable those deemed responsible for the alleged misconduct. Minister Uttam Kumar Reddy emphasized the necessity of accountability, asserting that the High Court did not exonerate the individuals involved and that options for further legal recourse are being explored. Additionally, the cabinet has taken steps to address the ongoing concerns of striking RTC workers, establishing a committee led by Deputy Chief Minister Bhatti Vikramarka to facilitate dialogue with union representatives. The previous administration's failure to distribute retirement benefits has exacerbated the situation, and the current government is keen on resolving these grievances promptly. In a broader initiative, the cabinet has also approved plans for infrastructure development, including the redevelopment of the Gachibowli stadium and the establishment of an integrated aqua park in Mancherial district, reflecting a multifaceted approach to governance that underscores both accountability and progress in Telangana."},"img":{"url":"https://images.prismic.io/prad/481377c7-8341-4d66-84a5-21ab923fd8d2_kaleshwaram.JPG?auto=format,compress"},"datetime":"2026-09-07T14:58:00+0000","embed":{"embed_url":null}},"uid":"kaleshwaram-irregularities-cbi-probe-sought"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Alpha: YRF's Spy Ambition Stumbles in a Labored Caper"},"content":{"text":"In a disappointing turn of events for fans of the Yash Raj Films (YRF) Spy Universe, the much-anticipated release of 'Alpha' fails to deliver the adrenaline-fueled excitement expected from a spy thriller. The film, directed by Shiv Rawail, features a promising cast including Alia Bhatt, Bobby Deol, and Anil Kapoor, yet it flounders under the weight of a predictable screenplay and weak characterization. With a rating of just 1.5 moons, it seems that the once-revered franchise has hit a significant low point. At the heart of 'Alpha' lies the convoluted tale of Sita, portrayed by Alia Bhatt, who embarks on a high-stakes mission tied to her enigmatic past. Despite an intriguing premise that hints at layers of intrigue, the narrative quickly descends into a series of clichéd plot twists and unconvincing emotional arcs. The film struggles to clarify its stakes, leaving audiences bewildered by a narrative that fails to articulate who is fighting whom and why, further compounded by improbable elements like a Pakistani spy infiltrating the Indian military. Such glaring inconsistencies detract from the film's potential and undermine its credibility. The film's shortcomings can be traced back to its directorial execution, which lacks the sharpness and cohesion needed to elevate the story. Shiv Rawail's vision appears muddled, with emotional moments feeling contrived and a screenplay riddled with unnecessary scenes that dilute the narrative's impact. In an industry where swift pacing and rigorous editing are paramount, 'Alpha' feels sluggish and unfocused, leaving viewers yearning for the precision often associated with YRF productions. With a tighter script and more coherent direction, the film might have emerged as a viable entry into the spy genre, yet it remains ensnared in its own failures. As for the performances, Alia Bhatt's portrayal of a spy feels disjointed, lacking the gravitas one would expect from a seasoned agent. Bobby Deol's inconsistent accent detracts from his character's credibility, while Anil Kapoor, despite his storied career, appears to be out of sync with the material. Dialogue that could have offered memorable moments instead falls flat, failing to resonate with audiences. Even the musical score, which could have provided emotional depth, proves to be forgettable and irrelevant, further diminishing the overall experience. With such a lackluster offering, 'Alpha' serves as a stark reminder that ambition alone cannot salvage a film devoid of substance."},"img":{"url":"https://images.prismic.io/prad/sL7kBhSqGBerazsL_aloha.JPG?auto=format%2Ccompress&rect=0%2C3%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-06T18:30:00+0000","embed":{"embed_url":null}},"uid":"alpha-yrfs-spy-ambition-stumbles-in-a-labored-cape"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Sanjay Dutt’s Legacy Beyond Cinema"},"content":{"text":"Sanjay Dutt, affectionately known as 'Baba', continues to captivate audiences with his commanding performances, particularly in his recent roles as SP Aslam Chaudhary in the 'Dhurandhar' series. At 67, Dutt remains a formidable presence in Indian cinema, but his talents extend beyond the silver screen. In a revealing interview, the actor shared insights into his dual passions for acting and gastronomy, providing a glimpse into the mindset that has sustained his remarkable career and solidified his bond with fans. During a candid conversation with Hesha Chimah of Filmibeat, Dutt expressed heartfelt appreciation for the unwavering support he has received throughout his journey. He emphasized the significance of his fans, attributing his success to their affection and respect. \"I think I attribute my success to the people, the public. I mean, they made me who I am. And I want to thank them for giving me so much love and respect,\" Dutt remarked, underscoring the deep connection he cherishes with his audience, which has been pivotal in shaping his legacy. Dutt's foray into the culinary world as a restaurateur reflects a long-held aspiration to create a space where people can relish quality food and memorable experiences. His newly opened restaurant, Alta Stella, embodies this vision, as he aims to offer patrons a delightful dining experience, merging his passion for food with his dedication to hospitality. \"I wanted to open a good restaurant where people could enjoy tasty, quality food and have a memorable dining experience,\" he explained, revealing his intent to leave an indelible mark in this new arena, reminiscent of the cherished roles he has portrayed on screen. A self-proclaimed 'big foodie', Dutt's culinary tastes are as diverse as his acting repertoire. He shared his fondness for Japanese cuisine and grilled dishes, alongside a deep appreciation for Indian classics like biryani and kebabs. His love for food complements his desire to be remembered not only for his cinematic contributions but also for creating a beloved dining destination that resonates with the values of good taste and community, ensuring his legacy continues to thrive on and off the screen."},"img":{"url":"https://images.prismic.io/prad/fce23162-d1ed-45ad-b639-b13e1ca4d3a0_sanjay+dutt.JPG?auto=format,compress"},"datetime":"2026-09-07T12:39:00+0000","embed":{"embed_url":null}},"uid":"sanjay-dutts-legacy-beyond-cinema"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Pietersen has made a shocking return to the England"},"content":{"text":"Former England batter Kevin Pietersen has made a shocking return to the England set-up as he has been named the 'specialist mentor' of the white-ball English side.  12 years after his international career came to a controversial end, Pietersen will be back in the England set-up as he joins Brendon McCullum's coaching staff, with his tenure beginning with the white-ball fixtures against Sri Lanka later in September. \"I am immensely proud to have been asked to help this team on their journey to win a World Cup in South Africa,\" Pietersen said on taking the role. \"Putting on the England uniform again for the first time since 2014 is a profound honour and a deeply special moment. \"We have an incredibly talented white-ball squad, and I am excited to get in the trenches and work relentlessly hard with these players to maximise their potential. To be a part of Brendon's think tank over the next 12 months is a fantastic opportunity, and I cannot wait to get started.\" Pietersen has previously worked with Delhi Capitals as the mentor in the Indian Premier League and was briefly associated with the Three Lions' batters in early 2023. McCullum welcomed the move, stating that he is \"excited\" to have Pietersen in the role for the batters. \"I've got immense respect for KP and what he's achieved in the game. He's had an amazing impact on English cricket, so for someone with his experience, knowledge and stature to want to play a role with this team is a fantastic result. \"I'm particularly excited for our batters to get the opportunity to work with him. KP has a unique understanding of what it takes to perform at the highest level, which will be hugely valuable to our players. We've always respected each other and had a strong appreciation for what the other brings to the game, so I'm really looking forward to working together,\" he added. Pietersen was recently critical of England's environment under McCullum when the Three Lions came to India in early 2025. McCullum had called the criticism \"factually incorrect\". Pietersen is regarded as one of the best batters for England, having played a vital role in the 2005 Ashes series win. He played 104 Test matches, 136 ODIs and 37 T20Is, with his last international appearance coming in January 2014 during the away Ashes."},"img":{"url":"https://images.prismic.io/prad/EkIUnKIO2M9WpMpf_kevinpieterson.JPG?auto=format,compress&rect=0,104,1200,592&w=2028&h=1000"},"datetime":"2026-09-07T09:42:00+0000","embed":{"embed_url":null}},"uid":"pietersen-has-made-a-shocking-return-to-the-englan"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Telugu YouTuber Ramana Nandana detained at RGIA"},"content":{"text":"Popular Telugu YouTuber Ramana Nandana was detained by police at Rajiv Gandhi International Airport (RGIA) here on Monday over alleged job fraud in the United Kingdom. The RGIA police detained the UK-based YouTuber following lookout notices issued against her after a case was registered in Andhra Pradesh.  Nandana, who is known for her channel ‘Nanadu’s World ’, and her husband Jagarlamudi Madhukar allegedly collected large sums of money by promising jobs in London.  A fraud case was registered against Nandana, Madhukar, and his father Mohan Rao at the Ibrahimpatnam Police Station in Andhra Pradesh's NTR district.   The RGIA police are likely to hand over the YouTuber to Ibrahimpatnam Police later in the day.  The case at Ibrahimpatnam Police Station was registered on a complaint by Mamillapalli Sivakranthi Kumar, a UK resident. The complainant alleged that he transferred Rs 15 lakh in multiple instalments to bank accounts linked to Destiny Consultancy, allegedly connected to Madhukar and Nandana, to secure a UK visa extension, employment assistance, and a Certificate of Sponsorship (CoS).   The complainant told police the promised visa services never materialised and a supplied CoS document turned out to be fraudulent. He stated that only Rs 2 lakh was refunded after repeated demands.   The FIR names Jagarlamudi Madhukar as accused number one, Rama Nandana as accused number two, and Mohan Rao as accused number three. They have been booked under charges of cheating and fraud. A Lookout Circular (LOC) was issued for the trio, leading to Nandana's detention upon arrival at the airport. Nandana has already issued a public video statement denying all allegations, stating that neither she nor her husband owns or runs the consultancy. She alleged that their names were misused and attributed the claims to a targeted smear campaign stemming from personal disputes. The couple also moved the High Court seeking to quash the FIR.  Nandana had a special cameo appearance in Megastar Chiranjeevi's film ‘Mana Shankara Vara Prasad Garu’ along with Nayanatara, which was released in January 2026."},"img":{"url":"https://images.prismic.io/prad/1fHsqmvh2cbyW74x_youtubers.JPG?auto=format%2Ccompress&rect=0%2C59%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-07T07:41:00+0000","embed":{"embed_url":null}},"uid":"telugu-youtuber-ramana-nandana-detained-at-rgia"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Two groups clash at Hyderabad pub"},"content":{"text":"Two people were injured in a brawl at a pub in Hyderabad's Jubilee Hills, officials said. The incident took place during the intervening night of Saturday and Sunday at a pub located in a hotel in the Jubilee Hills area, where two groups reportedly clashed, resulting in damage to property and parked vehicles and injuries to two people. Telangana Congress Rajya Sabha member Anil Kumar Yadav's brother Arvind Yadav was also present during the scuffle. Police have registered three separate cases in connection with the incident. Two cases were registered against the groups involved in the clash, while another case was filed against the management of the pub -- Cara Cara Pub -- for allegedly operating beyond the permitted hours, officials said. The situation reportedly turned violent when the two groups clashed inside the pub. Bouncers intervened after the establishment's property was allegedly vandalised during the altercation. However, the situation escalated again after the groups moved towards the parking area. A large number of people were seen allegedly engaging in a violent confrontation in the parking lot, where parked cars were damaged and people were assaulted. A video of the incident has also gone viral on social media, purportedly showing a group of people pushing a person to the ground and repeatedly beating him during the altercation. Police said the incident occurred after 1 a.m. on Sunday, which was beyond the permissible operating hours of the pub.  Following the incident, police registered a suo motu case against both groups for the offence of affray and other related acts involving fighting and causing disturbance. Separately, on the complaint of Wasim Khan, police registered another case alleging that the complainant and his friend were assaulted in the parking area while they were leaving the premises and proceeding towards their residence. According to the complaint, the accused persons allegedly intercepted the vehicle in which Wasim Khan and his friend were travelling, assaulted them and damaged the car. Further investigation is underway to establish the sequence of events and the individual roles of those booked in the three cases."},"img":{"url":"https://images.prismic.io/prad%2Fa29e6b0f-abff-45f1-90a0-b48431b2863b_clashes.jpg?auto=format,compress&rect=0,4,1200,592&w=2028&h=1000"},"datetime":"2026-09-07T02:30:00+0000","embed":{"embed_url":null}},"uid":"two-groups-clash-at-hyderabad-pub"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Telangana BJP chief clash with police"},"content":{"text":"The police detained Telangana BJP president N. Ramchander Rao and other BJP leaders and Bharatiya Janata Yuva Morcha workers to foil their protest at Telangana Assembly over the fee reimbursement issue on Monday.  The police stopped Ramchander Rao and his supporters as they tried to march towards the Assembly, demanding that the government release fee reimbursement dues. When the police detained Ramchander Rao and were taking him in a police vehicle, BJP cadres tried to stop the vehicle. This led to a scuffle between protestors and police. Some protestors climbed onto the vehicle, causing minor damage. Some protestors sustained injuries in the scuffle. “By arresting me for the fourth time in 10 days for demanding to clear pending fee reimbursement dues, the Congress government has exposed its true anti-student mindset. Instead of clearing dues and protecting students’ futures, Congress is silencing those who raise their voice for them,” Ramchander Rao posted on ‘X’. Holding placards and BJP flags and raising slogans, the protestors in batches tried to proceed towards the Assembly but were stopped by the police. Protestors squatted on the road but were physically lifted by the police personnel. They were whisked away in police vehicles. Earlier, a group of protestors who managed to reach near the Assembly building was detained by the police. They were shifted to a police station. On the first day of the monsoon session of the state legislature, BJYM had called for ‘chalo Assembly’ to demand that the Congress government clear fee reimbursement dues. The police had made elaborate security arrangements around the Assembly premises to prevent any untoward incidents. Police force was deployed on all routes leading to the Assembly to prevent protestors. The calls for protest and certain restrictions imposed on traffic affected the movement of vehicles on the busy roads around the Assembly in the central part of the city. The BJP has been taking up the issue of fee reimbursement. It alleged that the Congress government failed to clear pending fee reimbursement dues of nearly Rs 15,000 crore. It says this has put the future of 40 lakh students at stake. In the Assembly, BJP MLAs tried to stall the proceedings, demanding a debate on the issue of alleged arbitrary inclusion or private properties under Section 22A of the Registration Act, 1908. As soon as the House met for the day, the BJP members led by party floor leader Aleti Maheshwar Reddy were on their feet, demanding that the adjournment notice given by them be taken up for debate, by suspending the regular business. As Speaker Gaddam Prasad Kumar rejected their demand, they trooped into the well and raised slogans. The Speaker took exception to BJP members carrying placards and directed security staff to take the placards from the members. However, the BJP members continued their protest, demanding a probe by a sitting judge into the allegations of misuse of the Revenue and Registration machinery, extortion and arbitrary freezing of private properties under Section 22A. Legislative Affairs Minister D Sridhar Babu informed the House that the government has already decided on a short discussion on the issue and appealed to BJP members to cooperate in running the House as per the listed agenda. As the BJP members continued their protest, the Speaker adjourned the House for 15 minutes."},"img":{"url":"https://images.prismic.io/prad/ZPuvsXBtteww4SuS_bjpchiefarrested.JPG?auto=format%2Ccompress&rect=0%2C17%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-07T09:33:00+0000","embed":{"embed_url":null}},"uid":"telangana-bjp-chief-clash-with-police"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"Telangana Assembly Gate Turns Chaotic"},"content":{"text":"Amid chaos during the protest by the Opposition Bharat Rashtra Samithi (BRS) legislators at the main entrance of the Telangana Assembly on the first day of the Monsoon Session on Monday, party leaders K.T. Rama Rao, T. Harish Rao and others were detained by the police.  Police stopped the BRS MLAs and MLCs, wearing black T-shirts with slogans over what they called the unfulfilled promises of the state government. Police officials told them that there was no permission to enter the Assembly in T-shirts. This led to heated argument between the legislators and police, ultimately leading to a scuffle. BRS alleged K.T. Rama Rao, Jagadish Reddy, and Sunitha Reddy sustained minor injuries in the police action. Former minister and BRS Deputy Leader in Assembly, Harish Rao fell down during the scuffle. MLA Sunitha Reddy broke down over the alleged rough handling by the police personnel. The Opposition MLA alleged that police personnel tore her saree and humiliated her. The BRS alleged that police personnel also manhandled former minister Sabitha Indra Reddy by pulling her hair. Amid the commotion, former minister Jagdish Reddy fell unconscious while K.T. Rama Rao and Harish Rao took off their T-shirts to lodge their protest in vests. The police personnel then physically lifted the protesting MLAs and whisked them away. BRS alleged that Harish Rao was subjected to rough treatment by the police. BRS cadres were furious over the police's ‘undemocratic’ conduct, noting that they disregarded the fact that he is an Opposition leader. BRS leaders alleged that the Revanth Reddy government is resorting to physical assaults and arrests out of fear that the Opposition would question the government. The Opposition party also alleged that police behaved rudely with K.T. Rama Rao during his arrest and allegedly forced him into the vehicle. BRS MLAs Talasani Srinivas Yadav, Sabitha Indra Reddy, Sunitha Reddy, Kova Lakshmi, and Madhavaram Krishna Rao staged a sit-in protest inside the Assembly gate against the police's alleged high-handed actions towards their fellow BRS MLAs. K.T. Rama Rao expressed his anger at the government over the police's conduct. He questioned that when Leader of Opposition in the Lok Sabha, Rahul Gandhi, can wear a black T-shirt in Parliament to lodge a protest, why were they stopped. The former minister said they were only questioning the government on its failure to fulfil the promises made during the 2023 elections. K.T. Rama Rao, Harish Rao and other leaders reached party headquarters soon after. The party has given a call for statewide protests against the government’s action to stop its legislators from attending the session. Earlier, the BRS legislators gathered at Telangana Martyrs’ Memorial at Gun Park to stage a protest before marching to the Assembly. K.T. Rama Rao alleged that the state government betrayed all sections of people by not implementing the promises. He alleged the government had failed to fulfil any of the 420 promises, six guarantees and 13 declarations."},"img":{"url":"https://images.prismic.io/prad/SMytN-oT9hHYeM1M_BRSleaders.JPG?auto=format%2Ccompress&rect=0%2C76%2C449%2C221&w=2028&h=1000"},"datetime":"2026-09-07T07:40:00+0000","embed":{"embed_url":null}},"uid":"telangana-assembly-gate-turns-chaotic"}},{"node":{"tags":["Editorial","featured","four"],"data":{"third_party_url":null,"title":{"text":"PK: The Accidental Politician Of Amaravati?"},"content":{"text":"\"Charisma sustains a campaign; institutions demand a calendar. The tragedy of the charismatic leader is the belief that the passion which captures a crowd can substitute for the mundane, repetitive discipline of governance.\"— Benjamin Barber, Strong Democracy This quote simply means that star power can help a politician win an election, but it cannot help them run a country. Firing up a crowd with passionate speeches is completely different from the boring, repetitive, everyday hard work of managing a government. The tragedy occurs when a popular leader mistakenly believes that their personal charm can replace the real discipline, structure, and official responsibilities required to actually rule. Tsar Nicholas II of Russia stands as history's ultimate example of a leader completely crushed by the weight of absolute power. Upon his sudden ascension to the throne, he famously broke down in tears, admitting, \"I am not prepared to be a Tsar... I know nothing of the business of ruling.\" Lacking the backbone and decisiveness of his imposing father, Nicholas proved utterly incapable of managing a rapidly modernizing empire, consistently agreeing with whichever advisor spoke to him last. His profound passivity and paralyzing self-doubt transformed a position of supreme authority into a tragic vacuum of leadership, ultimately costing him his crown and ending the 300-year-old Romanov dynasty. Fast forward to the present-day, high-stakes theatre of Andhra Pradesh's political landscape, where discerning observers are rubbing their eyes to ensure they aren't witnessing a 21st-century Telugu remake of the Russian Tsar’s final act. In the emerging political discourse, Deputy Chief Minister Pawan Kalyan seems to be acting from the exact same script, effectively rebranding the state's second-highest office into a masterclass of political minimalism. As political scientists often note: \"Charm can win you an election, but running a government requires hard work and a strict schedule. The biggest mistake popular leaders make is thinking that the excitement that fires up a crowd can replace the boring, everyday discipline needed to actually rule.\" This simply means that star power can help a politician win an election, but it cannot help them run a country. Firing up a crowd with passionate speeches is completely different from the boring, repetitive, everyday hard work of managing a government. The tragedy occurs when a popular leader mistakenly believes that their personal charm can replace the real discipline, structure, and official responsibilities required to actually rule. Pawan Kalyan's “Passive Power Player Matrix” perfectly encapsulates a political trajectory defined by stark contradictions. It began with the promise of a roaring, decisive change-maker, only to rapidly devolve into a series of shape-shifting avatars that shifted awkwardly from a fierce Sanatana savior to a self-proclaimed \"not Chief Minister material.\" This philosophical retreat is perfectly mirrored in his erratic cabinet attendance, an exercise in executive aloofness that frequently borders on outright ghosting. To top it all off, a new political malady, cynically dubbed \"shoulder surgery,\" has left him physically and politically too weak to bear the literal burden of acting as a watchdog over the dominant TDP governance, an administration that is fast turning out to be a catalog of failures in the face of sky-high public expectations. The political trajectory of the Jana Sena chief reads less like a statesman’s rise and more like a collection of beautifully shot movie teasers that never culminate in a theatrical release. Governing, as it turns out, requires a mundane script that star power alone cannot rewrite. It demands the unglamorous discipline of marathon cabinet debates, navigating bureaucratic red tape, and rigorous legislative engagement, tasks that seem entirely incompatible with a leader who routinely goes aloof from institutional duties. When his highly publicized shoulder surgery triggered a wave of brutal social media memes ridiculing his inability to literally \"shoulder\" the burden of acting as a watchdog over the ever-losing credibility of the TDP governance, the medical excuse struggled to outrun the underlying political perception.  Whether sidelined by genuine medical advice or a strategic distaste for the administrative grind, the visual of a wounded warrior only amplified the image of a leader shrinking from the crushing weight of institutional power, while the administration he promised to check unravels under the weight of its own failures. Unsurprisingly, the TDP leadership appears to be all smiles and thoroughly unconcerned by their Deputy Chief Minister's selective aloofness or his deep medical rehabilitation. Far from triggering panic, this executive vacuum has been quietly welcomed by the yellow party's master strategists. The TDP high command has long been deeply wary of the BJP’s national leadership and its calculated designs to consolidate saffron politics in the state. By letting Pawan Kalyan remain sidelined, the TDP effectively short-circuits New Delhi’s grand plan of piggybacking on the movie star's massive shoulders to swallow the state’s political landscape at the cost of the TDP's own future. Meanwhile, a quiet storm of restlessness is brewing within the Jana Sena party cadre. The grassroots foot soldiers who once marched to the drumbeat of a \"system-shattering\" revolution now find themselves trapped in an ideological purgatory, wondering if they are supporting a rising alternative or just an elaborate political cameo. Frustrated by their leader's erratic shape-shifting avatars and mounting passivity, the cadre faces a bleak existential dilemma: they are realizing that a political future built entirely on the fleeting health and cinematic whims of a single celebrity provides absolutely no shield against a ruthlessly organized ally. The ultimate tragedy for any aspiring independent political force is the realization that emotions do not build organizations. Pawan Kalyan’s career has thrived on pure personal credibility and an almost spiritual, celluloid connection with his base. But as the Tsar learned the hard way, supreme authority cannot be wielded via remote control or casual cameos. If the Deputy Chief Minister continues to treat governance as a voluntary guest appearance rather than a full-time institutional commitment, his dreams of ever standing as a decisive, independent alternative in Andhra Pradesh will remain forever trapped in the realm of cinematic fiction. For the disillusioned Jana Sena cadre and the discerning voters of Andhra Pradesh, who bought into the fiery rhetoric of a system-shattering watchdog, this profound passivity brings to mind the poignant lines of the legendary Urdu poet Daagh Dehlvi: “Ghazab kiya tere waade pe aitbaar kiya, tamaam raat milaaye sahar intezaar kiya” (What a disaster it was to rely on your grand promises; I spent the entire night waiting, only to be left staring at a blank dawn). If the Deputy Chief Minister continues to treat governance as a voluntary guest appearance while his allies outmaneuver him and the administration unravels, he risks leaving his followers permanently stranded in that very dawn—waiting for a decisive leader who chose to remain a beautiful, unfulfilled promise."},"img":{"url":"https://images.prismic.io/prad/ajea3I1P9HI4UxBN_pk.JPG?auto=format%2Ccompress&rect=0%2C2%2C2020%2C996&w=2028&h=1000"},"datetime":"2026-09-07T07:30:00+0000","embed":{"embed_url":null}},"uid":"pk-the-accidental-politician-of-amaravati"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"1 Cr Telangana Voters in Deletion Row?"},"content":{"text":"Telangana Chief Minister, A. Revanth Reddy, on Monday alleged that there is a conspiracy to remove one crore voters in Telangana during the ongoing Special Intensive Revision (SIR) of electoral rolls.  He alleged that the BJP was conspiring to delete anti-BJP votes under the guise of SIR. He accused the party of targeting the votes of Scheduled Castes, Scheduled Tribes and minorities. The Chief Minister was speaking a programme to pay tributes to Communist leader Sarampally Malla Reddy, who passed away recently. Revanth Reddy underlined the need for all the non-BJP parties to unite to fight against BJP and Prime Minister Narendra Modi at the national level. “Unable to win elections democratically, they are adopting new tactics. BJP leaders are brazenly declaring that they will replicate in Telangana what they did in West Bengal. They are systematically removing anti-BJP votes,” he said. He claimed that the BJP was employing private agencies to conduct surveys and systematically delete votes. He also accused the saffron party of using the Election Commission for its political agenda. The Chief Minister alleged that Bharat Rashtra Samithi (BRS) is not uttering a single word about SIR. He said the Communist parties must understand the nature of the understanding that exists behind this. He underlined the need to protect the fundamental rights of the poor and minorities. Stating that Communists have long been fighting for the rights of the poor, he said the sight of the Red Flag gives the poor a sense of reassurance. He urged the Left parties to strive to safeguard the voting rights of the poor and minorities. The Chief Minister recalled that Communists fought for fair wages for the landless poor and that it was the Congress party that enacted the Minimum Wages Act. He said while Communists fought for \"land to the tiller\", the Congress government distributed 24.56 lakh acres of assigned land. Stating that 10 lakh acres of land are currently in the hands of Adivasis, he said this represents the Congress party's solution to the struggles waged by Communists. He said the Congress party provided employment through the Employment Guarantee Act, enacted the Food Security Act and addressed every issue raised by the Communists. The Chief Minister said Sarampally Malla Reddy had dedicated his life to the cause of farmers and termed his demise an irreparable loss to the farming community. He stated that Malla Reddy was unparalleled in his understanding of farmers' issues and his ability to articulate them with great refinement. He recalled that the late leader fought vigorously for the rights of tenant farmers and for remunerative prices for crops. Revanth Reddy assured that his government will strive to address agrarian issues by keeping in mind the books Malla Reddy wrote and the causes he championed. He said after a discussion in the Cabinet, the government will decide on how perpetuate the memory of Malla Reddy."},"img":{"url":"https://images.prismic.io/prad/24d4d4db-cf4a-4e24-9e7f-b5bfa9c3dc6f_voters+voting.JPG?auto=format,compress"},"datetime":"2026-09-07T10:30:00+0000","embed":{"embed_url":null}},"uid":"1-cr-telangana-voters-in-deletion-row"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"Darshan Fights for Physical Court Appearance"},"content":{"text":"Kannada actor Darshan, who is facing trial in the fan Renukaswamy murder case, on Monday approached the Karnataka High Court challenging the decision of the 59th City Civil and Sessions Court (CCH) not to produce him in person during the trial.  Darshan has filed a writ petition before the High Court seeking directions to the authorities to produce him physically before the trial court while witnesses record their statements. The petition is likely to come up before the High Court Bench for hearing in the next couple of days. The trial court had earlier rejected Darshan’s plea seeking his physical presence during the proceedings. It had cited security concerns, stating that producing him in person would require the deployment of a large number of police personnel and could lead to overcrowding on the court premises. The court also noted that similar situations had occurred earlier and that such arrangements could affect the administrative functioning of the court. So far, statements of 23 witnesses have been recorded in the trial. In his petition, Darshan has contended that he has the right to hear the statements of witnesses and see them while they depose before the court. He has argued that a witness should record his or her statement in the presence of the accused. Darshan has also cited technical problems with the video-conferencing facilities being used for the proceedings. He claimed that the technical equipment at Bengaluru Central Prison and the court has not been upgraded from time to time, resulting in technical glitches during video-conferencing. According to the petition, these technical issues have prevented him from properly hearing the statements of witnesses and communicating with his advocates during the proceedings. Darshan has stated that he has been unable to give necessary instructions to his lawyers or raise objections while witnesses are recording their statements. The petition further contends that the accused should be able to hear and observe the testimony of witnesses and provide instructions to his advocates when necessary. Darshan has, therefore, sought directions to the jail authorities to make appropriate arrangements to ensure his physical presence before the trial court while witnesses record their statements. Kannada actor Darshan Thoogudeepa, his partner Pavithra Gowda, and 15 others are facing trial for the June 2024 abduction, torture, and murder of 33-year-old fan Renukaswamy. Renukaswamy, a fan from Chitradurga, was allegedly killed for sending obscene messages to Pavithra Gowda. He was abducted, brought to a shed in Bengaluru, tortured, and his dead body was dumped near a stormwater drain. The trial court in Bengaluru granted conditional pardon to accused Pradosh after he offered to turn approver to reveal details of the crime and evidence disposal. Darshan has approached the Karnataka High Court to challenge the trial court's decision allowing Pradosh to become an approver. Pavithra Gowda recently petitioned the Bengaluru court to shift her prison barrack, citing health concerns and allergies. The Supreme Court previously cancelled Darshan's bail, ordering his re-arrest without VIP privileges as the trial proceeds in Bengaluru."},"img":{"url":"https://images.prismic.io/prad/ZvaYu7VsGrYSwEoW_darshan.JPG?auto=format,compress"},"datetime":"2026-09-07T08:08:00+0000","embed":{"embed_url":null}},"uid":"darshan-fights-for-physical-court-appearance"}},{"node":{"tags":["Entertainment"],"data":{"third_party_url":null,"title":{"text":"RGV: AI May Kill Human Muscle and Mind"},"content":{"text":"Maverick filmmaker Ram Gopal Varma has drawn a parallel with the Industrial Revolution, which replaced several physical jobs, and said that artificial intelligence is now beginning to “erase” jobs that require human thinking and creativity.  Taking to X, formerly called Twitter, the filmmaker wrote: “With AI, the first jobs to vanish will be of those who immediately don’t embrace it. Technology has always been designed for our convenience, to save us from physical hardships and to save our time from wasting it on mundane tasks…(sic).” “We all wish for more and more free time, and now our wish is coming true with AI freeing us for all time and most probably forever. We as humans had two assets .. one the muscle with which we perform tasks, and the mind we use to think and create.” Drawing the parallel, he wrote: “The Industrial Revolution started erasing physical jobs and now A I is erasing our minds ..Soon we will not have both and that’s nothing but our most ardent wish coming true Edward Abbey in W. W. Jacobs’s ‘The Monkey’s Paw’ warned us about this  ‘Beware of what you wish for.. it might come true’. It did (sic).” RGV has directed films across multiple genres. He is popular for having gritty realism, technical finesse in his cinema. Varma is tagged as one of the pioneers of new-age Indian cinema. He is currently busy with 'Police Station Mein Bhoot' starring Manoj Bajpayee  Speaking about the cast of “Police Station Mein Bhoot,” the film also stars Genelia Deshmukh as the female lead. He is simultaneously working on “Police Company” starring Harshvardhan Rane. The film was announced last month.  RGV had then shared on X that the film’s tag line is ‘It Is More Dangerous Than D Company’.  “The police is an institution, and an underworld company is a money making organisation.. But when an institution is given extra powers, it will soon become a company.” “After DAWOOD IBRAHIM brutally finished most of his rival gangs, he grew his GANG into a COMPANY and then left for DUBAI leaving his protégée CHOTA RAJAN to head the operations of D COMPANY. Subsequently a chain of events led to a split between Dawood and Rajan , which in turn caused a vacuum in the Mumbai underworld (sic).” RGV went on to say that the film “Police Company” is story inspired from that “SQUAD based on one of its team members DAYA NAYAK which is being played by HARSH VARDHAN RANE ..The film has a huge ensemble cast , the details of which will be revealed soon.”"},"img":{"url":"https://images.prismic.io/prad/b91cbf88-243f-4d5f-8e01-418b0847af2d_RGV.JPG?auto=format%2Ccompress&rect=0%2C301%2C5760%2C2840&w=2028&h=1000"},"datetime":"2026-09-07T06:42:00+0000","embed":{"embed_url":null}},"uid":"rgv-ai-may-kill-human-muscle-and-mind"}},{"node":{"tags":["politics"],"data":{"third_party_url":null,"title":{"text":"KTR's Car Struck by Lorry in Karimnagar"},"content":{"text":"In a startling incident at Alugunuru junction in Karimnagar, Telangana, a lorry collided with the vehicle of BRS working president KT Rama Rao on Saturday, narrowly avoiding a serious mishap. The accident occurred as KTR was preparing to depart after engaging with party workers who had gathered to welcome him. As the rear door of his car was opened, a lorry passing by brushed against it, creating a moment of chaos amidst the political gathering. At the time of the incident, KT Rama Rao was inside the car, which was parked, and fortunately, he emerged unscathed from the collision. The LMD Colony police reported that the lorry, moving at a low speed, struck the door while women party workers were tying rakhis to the BRS leader—a traditional gesture of goodwill. Despite the minor damage to the vehicle, the police confirmed that no injuries were reported, and KTR was able to continue with his scheduled activities without significant disruption. The day's events unfolded against the backdrop of a political rally organized by BRS supporters, including former Manakondur MLA Rasamai Balakishan. Enthusiasm ran high as party workers utilized a large crane to present a garland to KTR, a symbolic gesture underscoring his significance within the party. This reception was not only a display of loyalty but also an indication of the BRS's ongoing efforts to galvanize support in the lead-up to upcoming political challenges, particularly in light of the party's allegations against the state government for failing to meet promises made to the youth of Telangana. The lorry driver's oversight in failing to notice the opened door was a critical factor in the incident, according to law enforcement officials. This collision, while minor, has sparked discussions about safety protocols during public engagements for prominent political figures. As KT Rama Rao resumes his activities, including a protest against state governance, the event serves as a reminder of the unpredictable nature of political life and the ever-present risks that accompany public appearances."},"img":{"url":"https://images.prismic.io/prad/ZsXSHkaF0TcGJKpG_ktr.JPG?auto=format,compress"},"datetime":"2026-09-05T19:14:00+0000","embed":{"embed_url":null}},"uid":"ktrs-car-struck-by-lorry-in-karimnagar"}}]},"featured":{"edges":[{"node":{"data":{"title":{"text":"Raajkamal Films Warns of Casting Fraud"},"content":{"text":"Legendary actor Kamal Haasan's production banner, Raajkamal Films International, issued a statement on Tuesday, alerting netizens to an ongoing casting fraud.  They informed that they have not hired any casting agents for any of their projects. The banner further urged all to not trust any emails, messages, and social media posts shared by any agent on their behalf. The statement published on the official X (Earlier known as Twitter) handle of the production banner read, \"This is to clarify that Raajkamal Films International has not hired any casting agents for any of our films. Please do not trust any emails, messages and social media posts received by you for this purpose (sic).\" The statement further warned that Raajkamal Films International will be forced to take legal action against anyone found using their names in an unauthorized manner.  \"Legal action will be taken if any party is found falsely using Raajkamal Films International name in any unauthorized manner. (sic),\" they added. Raajkamal Films International was founded by Kamal Haasan back in 1981 along with his brothers under the banner “Haasan Brothers,. However, later it was renamed as Raajkamal Films International.  The primary project made under the banner was the 1981 drama Raja Paarvai' , featuring Kamal Haasan in the lead. Some of their most noteworthy films include 'Apoorva Sagodharargal (1989)', 'Thevar Magan (1992)', 'Virumaandi (2004)', 'Vishwaroopam (2013)' and 'Vikram (2022)'. Up next, Raajkamal Films International is backing superstar Rajinikanth's highly anticipated drama 'Dharman'. Recently, the makers of director Ashwath Marimuthu's directorial shared that they have successfully completed the second schedule of the forthcoming movie. Raaj Kamal Films International and Kamal Haasan took to social media and shared the professional update via a post that read, \"Dharman 2nd Schedule Wrapped. Swag Mode: ON.\" The post further included a clip where Rajinikanth was seen as a senior medical faculty member lecturing junior doctors."},"img":{"url":"https://images.prismic.io/prad/yZ2cqcPVyn5hEiJB_rajkamal.JPG?auto=format,compress&rect=29,0,1042,514&w=2028&h=1000"},"datetime":"2026-09-08T10:40:00+0000","embed":{"embed_url":null}},"uid":"raajkamal-films-warns-of-casting-fraud"}}]},"politics":{"edges":[{"node":{"data":{"title":{"text":"Meta Ran 300+ AI Child Abuse Ads"},"content":{"text":"Meta’s Facebook and Instagram platforms carried more than 300 paid advertisements featuring child $exual abuse material (CSAM) this year, including AI-manipulated images of real children, according to an investigation by the Tech Transparency Project (TTP).  The investigation found that many of the advertisements used photographs of real children that had been taken from social media posts and websites. The images were subsequently manipulated using artificial intelligence to make it appear as though the children were involved in explicit $exual acts. In one particularly disturbing case, a photograph of a minor member of a European royal family that had been publicly released last year appeared in an advertisement on Facebook and Instagram. The image was digitally transformed into a video depicting the child performing a graphic $ex act. The advertisement promoted a Chinese AI application and was reportedly targeted at adult male users. According to TTP, the more than 300 advertisements identified in its investigation featured children ranging from toddlers and preteens to young teenagers. Most followed a similar format, beginning with a snippet of adult pornography before showing an image of a child that had been manipulated with AI. The advertisements also appeared to use recurring captions, voiceovers and background music. TTP said it was able to identify multiple photographs of actual children used in the advertisements, raising concerns that images publicly shared online can be appropriated and transformed into abusive material using generative AI tools. The investigation also found that several of the advertisements had been placed by Meta’s advertising partners in China, including a Chinese state-controlled company. The vast majority of the ads directed users toward AI applications developed in China, with many of the apps offering or enabling so-called “nudification” capabilities that digitally remove clothing or createc$exually explicit versions of images. Meta did not initially respond to TTP’s request for comment. However, after the organisation shared its findings with the company, Meta carried out a rapid cleanup of its advertising ecosystem. About 150 advertisements that were still available in Meta’s Ad Library were removed, according to TTP. Meta also updated records for more than 100 advertisements that had already been taken down, newly classifying them as violations of its child-exploitation policies. TTP said those advertisements had previously been categorised under Meta’s adult-oriented policies without explicitly identifying the involvement of children. The discrepancy has raised questions over whether Meta’s existing systems may be undercounting cases involving child $exual exploitation, particularly when AI-generated or manipulated imagery is involved. A Meta spokesperson said the company does not tolerate “nudify apps or any kind of child exploitation, whether real or AI-generated.” The spokesperson added that many of the advertisements identified by the investigation had already been removed and that Meta continues to strengthen its detection and enforcement systems."},"img":{"url":"https://images.prismic.io/prad/Z7rb757c43Q3gGjp_meta.JPG?auto=format,compress"},"datetime":"2026-09-08T15:00:00+0000","embed":{"embed_url":null}},"uid":"meta-ran-300-ai-child-abuse-ads"}},{"node":{"data":{"title":{"text":"CPI(M) to fight ED move against Vijayan legally, politically"},"content":{"text":"The CPI(M) in Kerala is gearing up to fight, both legally and politically, the Enforcement Directorate’s move to pave the way for a corruption case against former two-time Chief Minister Pinarayi Vijayan.  State party secretary M.V.Govindan on Tuesday said the party will defend Vijayan legally and politically. The ED’s latest action threatens to cast a shadow over the party’s extended state committee meeting being held at Kozhikode over three days starting on Saturday to discuss organisational shortcomings and corrective measures. The ED has submitted a report to the Director General of Police under Section 66(2) of the Prevention of Money Laundering Act, seeking action under the Prevention of Corruption Act. The report contains details of the evidence allegedly unearthed during the agency’s investigation into the monthly payment case. The ED has also sought action against his son-in-law, P.A.Mohammed Riyas, a party MLA, and his wife, Veena T. The ED’s move could have wider implications for the case. Registration of an FIR under the Prevention of Corruption Act would enable the agency to proceed with further action in the monthly payment case. The ED has alleged that Exalogic Solutions received Rs 2.78 crore from Cochin Minerals and Rutile Ltd (CMRL) without providing any services in return. The agency has taken the view that the transaction falls within the ambit of money laundering. The immediate question is how the state government will respond to the ED’s recommendation. The police will have to take a position on the demand to register an FIR, potentially putting the government in a politically sensitive situation. State Home Minister Ramesh Chennithala said the State Police Chief would submit his views to the Home Secretary, following which the matter would come before him and be discussed with the Chief Minister before a decision is taken. The development has already triggered a political attack from Revolutionary Socialist Party MP N.K. Premachandran. He said the ED’s move was based on clear evidence and that what had emerged so far was only the tip of the iceberg. “This is a new experience in left-wing politics. The CPI(M) must take a stand on the issue and make its position clear. What has emerged against a senior leader is a serious corruption allegation,” Premachandran said. He alleged that all of Vijayan’s arguments had collapsed and Vijayan was not responding to the allegations raised by the ED. “The CPI(M) cannot escape responsibility. More cases will emerge,” Premachandran said. For the CPI(M), the timing is particularly uncomfortable, with the extended state committee meeting examining the reasons for the party’s electoral setback and discussing measures for course correction. The ED action against its top leader is now set to add a major political dimension to those deliberations."},"img":{"url":"https://images.prismic.io/prad/dfb6f2bd-6dd3-46a0-a060-69c613b1fc75_vijayan.JPG?auto=format,compress"},"datetime":"2026-09-08T16:35:00+0000","embed":{"embed_url":null}},"uid":"cpim-to-fight-ed-move-against-vijayan-legally-poli"}},{"node":{"data":{"title":{"text":"Trump Backs New H-1B Fee Push"},"content":{"text":"US President Donald Trump used his Labour Day proclamation to promote a proposed new fee on H-1B visa petitions, saying it would encourage American companies to invest in US workers before looking overseas for talent. “To ensure we are hiring and training American workers, we are proposing a new fee on H-1B visa petitions that will encourage companies to invest in qualified Americans before looking overseas for labour,” Trump said in the proclamation on Monday (local time). The presidential endorsement puts the politically sensitive H-1B visa programme directly into Trump’s Labour Day message, which focused heavily on manufacturing, trade, tariffs and protecting American jobs. The H-1B programme is widely used by US technology companies and other employers to hire highly skilled foreign professionals. Indian nationals have historically constituted the largest group of H-1B beneficiaries, making changes to the programme closely watched in India and among the Indian professional community in the United States. The fee cited by Trump is not a new levy imposed on Monday. The Department of Homeland Security last month proposed establishing a $103,265 fee for all H-1B petitions subject to the annual numerical cap, including petitions eligible for the advanced-degree exemption. Under the proposed rule, the fee would be paid when the petition is filed and would be in addition to other applicable immigration fees. The administration says the money would help cover federal costs associated with administering the lawful immigration system. Trump presented the H-1B proposal as part of a broader economic strategy aimed at giving preference to American workers. “After decades of disastrous trade policies that surrendered our industrial strength to foreign nations, companies are now returning home, investing trillions of dollars into the United States economy, and adding over 900,000 American jobs,” Trump said. He credited what he called his “protective tariffs” with shielding US workers from foreign competition and said American manufacturing had expanded for six consecutive months. “Our Nation is entering a bold new era of American manufacturing, technological innovation, and economic prosperity -- powered by the might of the American worker,” Trump said. The proclamation formally designated September 7 as Labour Day and called on Americans to honour the contributions and resilience of workers. The administration’s latest H-1B proposal follows a separate attempt by Trump to impose a $100,000 fee on new H-1B visas. A federal judge in Massachusetts struck down that fee in June, ruling that the administration had exceeded its authority. A federal appeals court in July rejected the administration’s request to suspend that ruling while the case proceeds. The new $103,265 proposal is being pursued through the federal rulemaking process rather than taking immediate effect. It applies to cap-subject H-1B petitions and remains a proposed rule, meaning employers are not being charged the new amount merely because of Trump’s Labour Day proclamation."},"img":{"url":"https://images.prismic.io/prad/aXEFSAIvOtkhByE7_trumpamerica.JPG?auto=format,compress"},"datetime":"2026-09-08T02:29:00+0000","embed":{"embed_url":null}},"uid":"trump-backs-new-h-1b-fee-push"}},{"node":{"data":{"title":{"text":"పీకే: అమరావతి రాజకీయాల్లో ఒక 'యాదృచ్ఛిక' నేత?"},"content":{"text":"రాజకీయ శాస్త్రవేత్త బెెంజమిన్ బార్బర్ ఒకచోట అంటారు: \"వ్యక్తిగత ఆకర్షణ (గ్లామర్) కేవలం ఎన్నికల ప్రచారానికే పరిమితం, కానీ వ్యవస్థ నడవడానికి ఒక పద్ధతి, ప్రణాళిక అవసరం. జనాలను ఉర్రూతలూగించే భావోద్వేగాలు, నిత్యం సాగే పరిపాలనా క్రమశిక్షణకు ప్రత్యామ్నాయం కాగలవని భావించడమే ఒక ప్రజాకర్షక నాయకుడి అతిపెద్ద పొరపాటు.\" నిజమే, కేవలం సినీ గ్లామర్ లేదా స్టార్ పవర్ ఒక నాయకుడిని అధికార పీఠం వైపు నడిపించగలదేమో కానీ, ఒక రాష్ట్రాన్ని సమర్థవంతంగా పాలించడంలో సాయపడలేదు. మైకుల ముందు గర్జించడం వేరు, సచివాలయంలో కూర్చుని ఫైళ్లను కదిలించడం వేరు. ప్రజాదరణను చూసుకుని పరిపాలనా బాధ్యతలను, సంస్థాగత క్రమశిక్షణను విస్మరిస్తే ఎలాంటి పరిణామాలు ఎదురవుతాయో చెప్పడానికి చరిత్రలో అనేక ఉదాహరణలు ఉన్నాయి. రష్యాను పాలించిన చివరి చక్రవర్తి జార్ నికోలస్-2 దీనికి సరైన ఉదాహరణ. తన తండ్రి అలెగ్జాండర్-3 మరణానంతరం అనుకోకుండా సింహాసనాన్ని అధిష్టించిన నికోలస్, ఆ భారాన్ని మోయలేక కన్నీళ్లు పెట్టుకున్నాడు. \"నేను చక్రవర్తి కావడానికి సిద్ధంగా లేను, నాకు అసలు పరిపాలనే తెలియదు\" అని అతడు తన సన్నిహితుల వద్ద వాపోయాడు. కఠినమైన నిర్ణయాలు తీసుకునే ధైర్యం లేక, ఎవరు చెబితే దానికి తల ఊపుతూ కాలం వెళ్లదీశాడు. ఆ నిష్క్రియాత్మకత, నాయకత్వ రాహిత్యమే చివరికి 300 ఏళ్ల రోమనోవ్ వంశ పాలన అంతమవడానికి, రష్యాలో విప్లవానికి దారితీసింది. ప్రస్తుత ఆంధ్రప్రదేశ్ రాజకీయ ముఖచిత్రాన్ని నిశితంగా గమనిస్తున్న విశ్లేషకులకు ఈ రష్యన్ చక్రవర్తి కథే గుర్తుకొస్తోంది. రాష్ట్రాన్ని శాసించాల్సిన ఉప ముఖ్యమంత్రి పవన్ కళ్యాణ్ (PK) తీరు చూస్తుంటే, ఆయన కూడా అదే స్క్రిప్టును తెలుగులోకి రీమేక్ చేస్తున్నారా అన్న అనుమానాలు బలపడుతున్నాయి. డిప్యూటీ సీఎం హోదాను ఆయన ఒక 'పార్ట్-టైమ్' బాధ్యతలా మార్చేస్తూ, రాజకీయాలలో సరికొత్త కనీసవాదానికి (Minimalism) తెరలేపారు. పవన్ కళ్యాణ్ రాజకీయ ప్రస్థానాన్ని పరిశీలిస్తే అందులో తీవ్రమైన వైరుధ్యాలు కనిపిస్తాయి. వ్యవస్థను బద్దలుకొడతానంటూ సింహగర్జనతో మొదలైన ప్రస్థానం, కాలక్రమేణా రకరకాల అవతారాలు ఎత్తింది. ఒకవైపు ఉగ్రరూపంతో సనాతన ధర్మ రక్షకుడిగా ఫోజులిస్తూనే, మరోవైపు \"నేను ముఖ్యమంత్రి రేసులో లేను, నాకంత సీన్ లేదు\" అంటూ తత్వాలు పలకడం మొదలుపెట్టారు. ఈ దార్శనిక తిరోగమనం క్యాబినెట్ సమావేశాల్లో ఆయన గైర్హాజరీలో స్పష్టంగా కనిపిస్తోంది. దీనికి తోడు, ఇటీవల జరిగిన \"భుజం సర్జరీ\" వ్యవహారం సామాజిక మాధ్యమాల్లో ట్రోలింగ్‌కు గురైంది. ప్రజల్లో తీవ్రమైన వ్యతిరేకతను మూటగట్టుకుంటున్న కూటమి ప్రభుత్వ పాలకులపై 'వాచ్‌డాగ్' (కాపలాదారు) లా వ్యవహరించాల్సిన పవన్, ఆ భారాన్ని తన భుజాలపై మోయలేకపోతున్నారంటూ మీమ్స్ వెల్లువెత్తాయి. అది నిజమైన అనారోగ్యమా లేక పరిపాలనా శ్రమ పట్ల ఉన్న విరక్తా అన్నది పక్కన పెడితే, వ్యవస్థాగత బాధ్యతల నుంచి ఆయన తప్పుకుంటున్నారనే బలమైన సంకేతాన్నైతే ప్రజల్లోకి తీసుకెళ్లింది. జనసేనాని రాజకీయ ప్రస్థానం చూస్తుంటే అద్భుతమైన టీజర్లు తప్ప, థియేటర్లలోకి రాని సినిమాను తలపిస్తోంది. పాలన అంటే కేవలం సెల్యులాయిడ్ మేజిక్ కాదు. దానికి గంటల తరబడి క్యాబినెట్ చర్చల్లో కూర్చోవాలి, అధికార యంత్రాంగాన్ని పరుగెత్తించాలి, శాసనసభ వ్యవహారాల్లో చురుగ్గా పాల్గొనాలి. కానీ ఈ పనులన్నింటికీ పవన్ కళ్యాణ్ ఆమడదూరంలో ఉంటున్నారు. ఆశ్చర్యకరంగా, ఉప ముఖ్యమంత్రి గైర్హాజరీపై అధికార తెలుగుదేశం పార్టీ (TDP) అధినాయకత్వం ఏమాత్రం ఆందోళన చెందడం లేదు, పైగా లోలోపల నవ్వుకుంటోంది. ఎందుకంటే, పవన్ కళ్యాణ్ భుజాలపై తుపాకీ పెట్టి రాష్ట్రాన్ని తమ గుప్పిట్లోకి తీసుకోవాలని చూస్తున్న బీజేపీ జాతీయ నాయకత్వ వ్యూహాలకు ఈ మౌనం ద్వారా చెక్ పడుతుందని టీడీపీ భావిస్తోంది. పవన్ ఎంత నిష్క్రియాత్మకంగా ఉంటే, అంతగా కూటమిపై పూర్తి పట్టు సాధించవచ్చని సదరు పార్టీ పెద్దలు తెరవెనుక పావులు కదుపుతున్నారు. కానీ, ఈ పరిణామాలు జనసేన క్షేత్రస్థాయి కార్యకర్తలలో (కేడర్లో) తీవ్ర నిరాశను, గందరగోళాన్ని నింపుతున్నాయి. వ్యవస్థను మారుస్తాడని నమ్మి జెండాలు మోసిన సైనికులు, ఇప్పుడు తాము ఒక ప్రత్యామ్నాయ శక్తా లేక కేవలం ఒక రాజకీయ అతిథి పాత్రకు మద్దతు ఇస్తున్నామా అని ఆత్మరక్షణలో పడ్డారు. నాయకుడి అస్థిరమైన అవతారాలు, నిరంతర అనాసక్తిని చూసి, కేవలం ఒక సెలబ్రిటీ గ్లామర్‌పై ఆధారపడి రాజకీయం చేస్తే భవిష్యత్తు శూన్యమని వారు గ్రహిస్తున్నారు. ఒక బలమైన రాజకీయ శక్తిగా ఎదగాలంటే భావోద్వేగాలు మాత్రమే సరిపోవు, సంస్థాగత నిర్మాణం కావాలి. రష్యా జార్‌లాగే, పరిపాలనను రిమోట్ కంట్రోల్ ద్వారానో, గెస్ట్ అప్పీయరెన్స్‌ల ద్వారానో నడపలేరని పవన్ గుర్తించాల్సి ఉంది. ఒకవేళ ఆయన పాలనను ఒక స్వచ్ఛంద సేవలా భావిస్తే, ఆంధ్రప్రదేశ్‌లో ఒక స్వతంత్ర నిర్ణయాత్మక శక్తిగా ఎదగాలనే ఆయన కల కేవలం సినిమా స్క్రిప్టుగానే మిగిలిపోతుంది. వ్యవస్థను మార్చే 'కాపలాదారు' వస్తాడని నమ్మి మోసపోయిన జనసేన కార్యకర్తలకు, ఏపీ ఓటర్లకు ఇప్పుడు ప్రసిద్ధ ఉర్దూ కవి దాగ్‌ దెహ్ల్వి రాసిన లైన్లు సరిగ్గా సరిపోతాయి:“గజబ్ కియా తేరే వాదే పే ఐత్‌బార్ కియా, తమామ్ రాత్ మిలాయే సహర్ ఇంతేజార్ కియా”(నీ గొప్ప వాగ్దానాలను నమ్మి ఎంత తప్పు చేశాను; రాత్రంతా ఎదురుచూసి, చివరకు వెలుతురు లేని శూన్యమైన తెల్లవారుజామును చూస్తూ ఉండిపోయాను). పవన్ కళ్యాణ్ ఇలాగే పరిపాలనను అలసత్వంగా తీసుకుంటూ, మిత్రపక్షాల వ్యూహాల్లో చిక్కుకుంటే, ఆయనను నమ్ముకున్న శ్రేణులు కూడా ఆ శూన్యమైన తెల్లవారుజామున ఒంటరిగా మిగిలిపోక తప్పదు."},"img":{"url":"https://images.prismic.io/prad%2F19fdc093-ed0e-43a0-97f8-534e9150800a_pawan+rejected.jpg?auto=format%2Ccompress&rect=0%2C16%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-07T18:31:00+0000","embed":{"embed_url":null}},"uid":"pk-a-chance-leader-in-amaravati-politics"}},{"node":{"data":{"title":{"text":"Bombay HC refuses to nix defamation case against RaGa"},"content":{"text":"The Bombay High Court on Tuesday dismissed a plea filed by Congress MP and Leader of the Opposition in the Lok Sabha (LoP), Rahul Gandhi, seeking quashing of criminal defamation proceedings against him over his alleged remarks against Prime Minister Narendra Modi.  A single-judge Bench of Justice Nitin Borkar refused to interfere with the order passed by the magistrate, issuing summons to LoP Gandhi, holding that there was no manifest illegality or perversity warranting interference under Section 482 of the Code of Criminal Procedure (CrPC). \"In the absence of any manifest illegality, perversity in the impugned order, it is not a fit case for interference in exercise of inherent jurisdiction under Section 482 of the CrPC. Considering the overall facts and circumstances, this Court finds no infirmity in the impugned order,\" the Bombay High Court observed. The High Court also rejected the leader's contention that the complaint filed by a BJP member was not maintainable, holding that the BJP, being a registered national political party, is an identifiable body. Justice Borkar observed that, at the stage of considering the challenge to the summons, it could not be said that LoP Gandhi's alleged remarks were restricted only to the senior leadership of the BJP. \"On a prima facie reading of the statement describing the PM, who is member of the BJP as a 'commander-in-thief', therefore at this stage, it cannot be said that the impugned comment is limited only to the senior leadership of the party,\" the judge observed. \"Whether the imputation was in substance and what impact it will have on members of the party will have to be considered at the stage of trial. Therefore, this court finds no illegality in the order passed by the Ld. Magistrate,\" the order added. However, the High Court granted LoP Gandhi six weeks' protection from appearing before the magistrate, allowing him time to challenge the order before the Supreme Court. The defamation complaint was filed by BJP member Mahesh Shrishrimal before the Girgaon Magistrate Court over remarks allegedly made by LoP Gandhi during a rally in Rajasthan in September 2018. The complainant alleged that the leader had used expressions such as \"Choro Ke Sardar\" and \"Commander-in-Thief\" while referring to PM Modi, and claimed that the remarks lowered the reputation of the Prime Minister as well as BJP members. Shrishrimal, who claimed to have been an active member of the BJP for nearly two decades, argued that the remarks against PM Modi had a wider impact on members of the party by portraying them as \"thieves\". The magistrate, after considering the material and evidence placed by the complainant, issued summons against LoP Gandhi in August 2019. He later challenged the summoning order before the Bombay High Court, contending that the complaint filed by a BJP worker was not maintainable and seeking quashing of the proceedings. The complainant opposed Gandhi's plea, arguing that he had himself been aggrieved by the alleged defamatory remarks and had instituted the complaint in his capacity as a member of the BJP Maharashtra Pradesh Committee. The Bombay High Court had reserved its order on the plea in February this year after hearing arguments from the Congress leader, the complainant and the Maharashtra government."},"img":{"url":"https://images.prismic.io/prad/aUUbC3NYClf9ofpW_RaGaprotest.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-08T07:43:00+0000","embed":{"embed_url":null}},"uid":"bombay-hc-refuses-to-nix-defamation-case-against-r"}},{"node":{"data":{"title":{"text":"BRS MLAs booked for assaulting police"},"content":{"text":"Hyderabad Police registered a case against Bharat Rashtra Samithi (BRS) Working President, K.T. Rama Rao, BRS Deputy Leader in Telangana Assembly, T. Harish Rao, and several other party legislators in connection with Monday’s incidents at the Assembly's entrance. The BRS legislators have been booked for allegedly obstructing and assaulting police.  According to the FIR filed by Detective Inspector M Balaswamy, the leaders wearing black T-shirts with political slogans written on them, tried to force entry despite security restrictions imposed on the Speaker's orders. They allegedly abused women Constables, threatened staff, caught policemen by the collar and pushed QRT personnel. Former ministers Jagdish Reddy, Gangula Kamalakar, Sabitha Indra Reddy and Sunitha Lakshma Reddy, legislators Padi Kaushik Reddy, Shambipur Raju, Sanjay, Vijayudu, Sudheer Reddy and Kova Lakshmi were among the leaders named in the FIR. The case has been booked at Saifabad Police Station under Section 121(1), 132, 74, 79, 351, 352, 353 r/w 3(5) of the BNS. The Sections relate to offences like causing hurt to a public servant on duty; assault or use of criminal force against a woman with the intent, or knowledge, that it will outrage her modesty; gesture intended to insult the modesty of a woman; criminal intimidation; intentional insult and making false statements conducing to public mischief. Two MLCs of the BRS were on Tuesday arrested by the police for allegedly making derogatory and abusive remarks against Assembly Speaker Gaddam Prasad Kumar. MLCs Tata Madhusudan alias Madhu and N. Naveen Kumar Reddy were arrested from their houses on Tuesday morning. A case was registered against them on a complaint filed by Pollepalli Venkatesham, Officer on Special Duty (OSD) to the Assembly Speaker. The complainant stated that the Speaker, who belongs to the Scheduled Caste (Madiga) community, was intentionally insulted, humiliated and demeaned in public view before journalists, electronic media crews, Assembly staff and security personnel. It was also alleged that the remarks were made with full knowledge of his social background and were aimed at lowering his personal and constitutional standing. Based on the complaint, Saifabad Police registered a case under Section 352 r/w 3(5) BNS and Sections 3(1)(r), 3(2)(va), 3(2)(vii) of the SC/ST (Prevention of Atrocities) Act. Meanwhile, cases have also been booked against 291 leaders and workers of the BJP who tried to lay siege to the Assembly to protest over the fee reimbursement issue. Four members of the Aam Aadmi Party (AAP) have also been booked. A case has been registered with regard to the damage to the windshield of a police vehicle carrying BJP state president N. Ramchander Rao, who was detained during the protest near the Assembly. A couple of protestors had climbed on to the police vehicle carrying Ramchander Rao, resulting in damage to the vehicle."},"img":{"url":"https://images.prismic.io/prad/I5ApVf8ty4qfTvs9_BRSMLAs.JPG?auto=format%2Ccompress&rect=0%2C12%2C448%2C221&w=2028&h=1000"},"datetime":"2026-09-08T09:41:00+0000","embed":{"embed_url":null}},"uid":"brs-mlas-booked-for-assaulting-police"}}]},"entertainment":{"edges":[{"node":{"data":{"title":{"text":"When Sunita called Govinda 'a very good husband'"},"content":{"text":"Bollywood actor Govinda and Sunita Ahuja have been a topic of discussion for some time now due to trouble in their marriage. However, there was a time when Sunita said that she is fortunate to have a husband like Govinda.  When Govinda and Sunita appeared on the popular chat show, 'Rendezvous with Simi Garewal', host and veteran actress Simi Garewal had asked Sunita what was the best thing about being married to Govinda. \"Basically, he is a very good man. He never lies,\" Sunita had replied. However, as Govinda laughed at this, Sunita teased him, saying, \"Don't laugh, otherwise I am going to speak the truth.\" When host Simi Garewal inquired if Sunita was not being truthful, she clarified that she was only pulling Govinda's leg. Praising Govinda as a husband, she went on to say, \"He is a very good husband, I am not lying, and I am very lucky to have a husband like him.\" It must be noted that Sunita filed for divorce in Bandra Family Court back in December 2024. If the reports are to be believed, the court had ordered counseling sessions; however, Govinda was reluctant to attend. Sunita even recently shamed Govinda publicly for his alleged relationship with newcomer Komal Rani Swarnkar. Reacting to this, Govinda had uploaded a video on social media, warning Sunita to be mindful of her language. On Aug 19 this year, Sunita withdrew her divorce petition. Confirming this, Govinda's manager, Shashi Sinha, told, \"The petition Sunita ji had filed in the court earlier; she had gone to withdraw it.\" Govinda even issued a public notice, warning netizens, media institutions, digital platforms, and content creators not to publish or share any false, defamatory, malicious, fabricated, or unverified material related to him or his family. Govinda warned of claims up to ₹100 crore against those found guilty."},"img":{"url":"https://images.prismic.io/prad/aK8wzmGNHVfTOYFb_govindasunitha.JPG?auto=format,compress"},"datetime":"2026-09-08T12:35:00+0000","embed":{"embed_url":null}},"uid":"when-sunita-called-govinda-a-very-good-husband"}},{"node":{"data":{"title":{"text":"Ranveer & Deepika wait for the arrival of baby no 2"},"content":{"text":"As Bollywood's power couple, Ranveer Singh and Deepika Padukone wait for the arrival of their baby no 2, they treated their Instagram family with some adorable family pics with the big sister to be Dua.  On Tuesday, Ranveer and Deepika dropped a joint post with the caption, \"Baby Dua and our hearts are getting bigger! Thank you for your blessings! (Evil eye and folded hands emojis) @deepikapadukone (sic).\" The black and while pictures from the maternity photoshoot feature Dua, who looked all grown up, sharing an infectious laught with mom Deepika and father Ranveer. We could also see Deepika flaunting her baby bump in these adorable pictures of the three. Dua wore a collared top with trousers, and her hair was tied in two ponytails, adorned with ribbons. Deepika, on the other hand, looked as gorgeous as ever in a net flower top. Ranveer accompanied the two ladies in a simple shirt and pants. Ranveer's 'Dhurandhar' co-star Sara Arjun reacted to the post with a heart-melting comment, saying, \"The most adorable family (evil eye and red heart emoji)towchwood (hug emoji).\" Another member from the 'Dhurandhar' family commented, \"Mashallah beautiful (red heart emojis)\". Filmmaker Atlee, who is directing Deepika in 'Raaka', dropped several red heart emoticons in the comment section. Deepika and Ranveer announced that they are expecting their second child together in April this year. Making the happy announcement on social media, the couple shared a joint post with a picture of Dua holding a pregnancy test kit showing a positive result. After keeping their admirers guessing about their relationship for years,  Deepika and Ranveer finally tied the knot in an intimate yet lavish ceremony at Lake Como, Italy, in November 2018. Deepika and Ranveer welcomed their first child, daughter Dua on September 8, 2024. "},"img":{"url":"https://images.prismic.io/prad/L0gYH0uXD8miaNM3_ranveerdeepika.JPG?auto=format%2Ccompress&rect=0%2C18%2C450%2C222&w=2028&h=1000"},"datetime":"2026-09-08T14:30:00+0000","embed":{"embed_url":null}},"uid":"ranveer--deepika-wait-for-the-arrival-of-baby-no-2"}},{"node":{"data":{"title":{"text":"Rajpal Yadav Gets 5-Crore Relief"},"content":{"text":"The Supreme Court on Tuesday agreed to hear a plea filed by actor and comedian Rajpal Yadav and his wife challenging the Delhi High Court judgment upholding their conviction in multiple cheque dishonour cases, and granted them exemption from surrendering, subject to a deposit of Rs 5 crore.  A Bench of Chief Justice of India (CJI) Surya Kant and Justices Joymalya Bagchi and V. Mohana took the special leave petitions (SLPs) on board after they were mentioned before the apex court and issued notice conditionally, returnable on September 15. \"On the oral mentioning, the special leave petitions are taken on Board,\" the CJI Kant-led Bench said in its order. The Supreme Court further directed that the petitioners would be exempted from surrendering, subject to depositing Rs 5 crore with the registry of the top court by Wednesday. \"Subject to deposit of Rs 5 crore by the petitioners with the Registry of this Court by tomorrow, they are granted exemption from surrendering,\" the SC ordered. The SLPs have been filed by Rajpal Yadav and his wife challenging the Delhi High Court's judgment, which upheld their conviction in seven cheque dishonour cases under the Negotiable Instruments Act. The Delhi High Court had on July 10 upheld Rajpal Yadav's conviction while reducing his sentence from six months to three months' simple imprisonment in each of the seven cases. It had also reduced the fine from Rs 1.60 crore to Rs 1.05 crore in each case, with all substantive sentences directed to run concurrently. The High Court had taken into account the payments already made by the actor to the complainant M/s Murli Projects Pvt Ltd during the pendency of the proceedings. The petitions before the Supreme Court contended that the High Court failed to consider a subsequent consent agreement between the parties under which the earlier security cheques were allegedly to be returned, and fresh cheques were issued. The petitioners have relied upon the apex court's judgment in M/s Gimpex Private Limited v. Manoj Goel, contending that the subsequent agreement between the parties ought to have brought an end to the original complaint proceedings and that the cheques in question were no longer valid. According to the petition, the parties had entered into four agreements in connection with a film being produced by Rajpal Yadav, after the earlier agreements could not be fulfilled within the stipulated timelines. The petitioners have claimed that under the fourth agreement, also described as a consent agreement dated April 21, 2013, the eight security cheques issued under the previous agreement were to be returned, and four fresh cheques of Rs 10 crore were issued. The petitioners have claimed that the respondent did not return the eight security cheques and instead proceeded with the prosecution after seven of those cheques were dishonoured. They have also argued that the trial court and appellate courts failed to consider the effect of the subsequent consent agreement and the contention that the cheques forming the basis of the complaints were no longer enforceable. Earlier, the Delhi High Court had dismissed the revision petitions filed by the actor and his wife, holding that the challenges to the conviction were barred by an extraordinary delay of 1,894 days and refusing to interfere with the findings of the courts below. The High Court had also observed that despite repeated opportunities and indulgence to facilitate an amicable settlement, Rajpal Yadav had failed to honour undertakings given before the court. \"Needless to state that in case a litigant wishes to choose the path of imprisonment rather than abiding by multiple undertakings given by him in the Court, it is entirely his choice. Law is not a script that can be rewritten at the will of an actor, nor can legal positions be altered with every change of strategy, whosoever the litigant may be. Courts adjudicate on the basis of settled legal principles and the record before them,\" Justice Swarana Kanta Sharma had observed. The High Court had reduced the fine to Rs 1.05 crore in each of the seven cases, totalling Rs 7.35 crore. Out of the fine amount in each case, Rs 1,04,75,000 was directed to be paid to M/s Murli Projects Pvt Ltd, while Rs 25,000 was to be credited to the State. The High Court had also suspended the modified sentence for two months to enable the petitioners to avail themselves of remedies available in law."},"img":{"url":"https://images.prismic.io/prad/aYM3c90YXLCxVW7h_rajpalyadav.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-08T13:30:00+0000","embed":{"embed_url":null}},"uid":"rajpal-yadav-gets-5-crore-relief"}},{"node":{"data":{"title":{"text":"Madhuri Watched Her Own Film in Burqa"},"content":{"text":"Did you know that Bollywood's 'Dhak Dhak' girl once went to the cinema hall wearing a burqa to watch her own movie, 'Teezab'.  She had gone to the theatre to witness the craze for her song 'Ek Do Teen' from the movie. During her appearance on 'The Kapil Sharma' show, host Kapil Sharma asked her if she had ever gone to watch her own movie. To this, Madhuri shared the fun incident saying, \"Yes, I went to watch my own movie. Actually, everyone said that the song 'Ek Do Teen', has become very popular. 'You don't know, it is so much fun in the theatre.' So I went to watch it in the Chandan Cinema; it is a single theatre. So I wanted to see it there.\" \"I went inside wearing a burqa and sat down. Sometimes they used to switch off the AC there, so I started sweating in the burqa. I was waiting for the song 'Ek Do Teen', and as soon as it started, we were sitting in the front row; the coins started coming from the back and fell on our heads. We ran away from there.\" Madhuri added that while they thought that since she was in disguise, no one would come to know that she had come to watch the movie. However, to her surprise, as soon as they stepped out of the theatre and went to the lobby, people recognized her and started saying, 'Madhuri has come'.\" Talking about 'Tezaab', the 1988 romantic actioner was directed by N. Chandra. With Madhuri and Anil Kapoor as the lead pair, the project also saw Anupam Kher, Chunky Panday, Kiran Kumar, and Suresh Oberoi as the supporting cast. Released on 11 November 1988, 'Tezaab' turned out to be the highest-grossing Hindi film of the year, enjoying a golden jubilee run in the cinema halls."},"img":{"url":"https://images.prismic.io/prad/aAN8ROvxEdbNPPtI_madhuri.jpg?auto=format,compress"},"datetime":"2026-09-08T12:20:00+0000","embed":{"embed_url":null}},"uid":"madhuri-watched-her-own-film-in-burqa"}},{"node":{"data":{"title":{"text":"Neha Dhupia: Don’t have any gender biases in my head"},"content":{"text":"Bollywood actress Neha Dhupia, who has returned as a Gang Leader on the 21st edition of “Roadies”, has spoken about gender equality on the reality show, saying she has never believed in restricting people based on their gender.  Talking to media, Neha shared that the show gives female contestants a space to share their stories, opinions and experiences without making them feel less powerful than their male counterparts.  Talking about being confident in a space which is dominated by male energy, Neha told: “It's because I, in my head, don't have any gender biases. Like, I haven't been raised thinking that a girl can do this and only a boy can do this. And you won't say this here because you're a girl.” She added: “Or you'll go out there and stand in the back or you're just a boy. But at the same time, to have respect for people around me, I think the combination of that has never had any sort of…” Neha said she has never experienced gender inequality and believes the youth-based reality show gives participants, especially girls, a stage to share their stories and opinions as equals. “I've never been in a situation where I feel that, you know, I'm surrounded by people where there's any inequality of gender. And that's been my biggest voice, even when it comes to the contestants, where I know they come with their stories and I respect that.” “But their stories are also that the girls talk about how they're raised differently because they're girls and this platform actually gives them, you know, a place, a position and a point of view that they can put across, keeping aside the fact that they're a girl or the fact that they're in a place full of boys.”  “But it's really something that I don't advocate. It's something the show doesn't advocate. And it really makes you feel one amongst equals as opposed to less or more powerful.”"},"img":{"url":"https://images.prismic.io/prad/75a86ee5-b3b1-43a4-8a95-7e465ae21a6f_neha+dupiya.JPG?auto=format,compress"},"datetime":"2026-09-08T06:57:00+0000","embed":{"embed_url":null}},"uid":"neha-dhupia-dont-have-any-gender-biases-in-my-head"}},{"node":{"data":{"title":{"text":"Raajkamal Films Warns of Casting Fraud"},"content":{"text":"Legendary actor Kamal Haasan's production banner, Raajkamal Films International, issued a statement on Tuesday, alerting netizens to an ongoing casting fraud.  They informed that they have not hired any casting agents for any of their projects. The banner further urged all to not trust any emails, messages, and social media posts shared by any agent on their behalf. The statement published on the official X (Earlier known as Twitter) handle of the production banner read, \"This is to clarify that Raajkamal Films International has not hired any casting agents for any of our films. Please do not trust any emails, messages and social media posts received by you for this purpose (sic).\" The statement further warned that Raajkamal Films International will be forced to take legal action against anyone found using their names in an unauthorized manner.  \"Legal action will be taken if any party is found falsely using Raajkamal Films International name in any unauthorized manner. (sic),\" they added. Raajkamal Films International was founded by Kamal Haasan back in 1981 along with his brothers under the banner “Haasan Brothers,. However, later it was renamed as Raajkamal Films International.  The primary project made under the banner was the 1981 drama Raja Paarvai' , featuring Kamal Haasan in the lead. Some of their most noteworthy films include 'Apoorva Sagodharargal (1989)', 'Thevar Magan (1992)', 'Virumaandi (2004)', 'Vishwaroopam (2013)' and 'Vikram (2022)'. Up next, Raajkamal Films International is backing superstar Rajinikanth's highly anticipated drama 'Dharman'. Recently, the makers of director Ashwath Marimuthu's directorial shared that they have successfully completed the second schedule of the forthcoming movie. Raaj Kamal Films International and Kamal Haasan took to social media and shared the professional update via a post that read, \"Dharman 2nd Schedule Wrapped. Swag Mode: ON.\" The post further included a clip where Rajinikanth was seen as a senior medical faculty member lecturing junior doctors."},"img":{"url":"https://images.prismic.io/prad/yZ2cqcPVyn5hEiJB_rajkamal.JPG?auto=format,compress&rect=29,0,1042,514&w=2028&h=1000"},"datetime":"2026-09-08T10:40:00+0000","embed":{"embed_url":null}},"uid":"raajkamal-films-warns-of-casting-fraud"}}]},"tech":{"edges":[]},"fashion":{"edges":[]},"business":{"edges":[]},"health":{"edges":[{"node":{"data":{"title":{"text":"Scorching Heat: The Unseen Toll on Teen Mental Health"},"content":{"text":"As global temperatures soar, a troubling new study reveals that extreme heat is not merely an environmental concern but a significant threat to the mental health of adolescents. Research indicates that for every 1°C rise in daily temperature, the risk of adverse mental health outcomes in teenagers escalates by nearly 1%. While this statistic may seem modest at first glance, it becomes alarming when considering the frequency of heatwaves in recent summers, underscoring the urgent need to address this evolving crisis. The comprehensive review analyzed data from 23 studies worldwide, pinpointing children and teenagers aged five to eighteen as the most vulnerable demographic. On particularly hot days, this group experiences a 1.5% increase in the likelihood of poor mental health outcomes; however, during actual heatwaves, this figure skyrockets to an astonishing 25%. Such stark differences highlight the psychological ramifications of sustained heat exposure, which extends beyond mere discomfort to include serious implications such as increased anxiety, depression, and even suicide attempts. Experts, including co-author Jacqueline Stephens from Flinders University, emphasize that the intersection of climate change and mental health cannot be ignored. The patterns of rising temperatures and more frequent heat events are not restricted to a single region; they are a global phenomenon with widespread repercussions. Adolescents are particularly susceptible during this pivotal developmental stage, where their routines—schooling, recreation, and social interactions—are disrupted by extreme weather conditions, causing significant emotional distress. Moreover, researchers note that the physical impact of heat, such as sleep disruption, compounds mental health challenges. Poor sleep exacerbates mood regulation, while family stress during heatwaves creates a ripple effect that permeates households. Although the findings point to population-level trends rather than individual predictions, they call for a re-evaluation of how public health strategies address heat-related issues. Current responses prioritize physical safety measures like hydration and cooling centers but overlook the critical need for mental health support tailored to young people. This oversight underscores the need for a more holistic approach to climate adaptation strategies that incorporate mental health services as integral components of public health initiatives."},"img":{"url":"https://images.prismic.io/prad/CJ8ZpPonvzZKyB1t_mentalhealth.JPG?auto=format,compress"},"datetime":"2026-08-11T10:28:00+0000","embed":{"embed_url":null}},"uid":"scorching-heat-the-unseen-toll-on-teen-mental-heal"}},{"node":{"data":{"title":{"text":"The Distinction Between Brain Tumors and Brain Cancer"},"content":{"text":"The phrases 'brain tumor' and 'brain cancer' often evoke a visceral reaction among the public, conjuring images of gravely serious health threats. However, contrary to common perception, these terms describe distinct medical conditions that warrant different approaches to diagnosis and treatment. A brain tumor is simply an abnormal growth of cells in or around the brain, which can be classified as benign or malignant. While all brain cancers are tumors, not all tumors exhibit cancerous characteristics; this critical distinction can influence a patient's treatment plan and overall prognosis. The medical community underscores the importance of understanding these differences. Brain tumors, irrespective of their benign or malignant status, can lead to severe health consequences because of the brain’s confined environment within the skull. This means that even non-cancerous tumors can exert pressure on vital neurological functions, leading to symptoms such as persistent headaches, seizures, and cognitive deficits. Dr. Praveen Gupta, a prominent neurologist, emphasizes that benign tumors, while non-cancerous, can still necessitate significant medical intervention depending on their size and location. The implications of this are crucial for anyone facing a diagnosis related to brain health. Historically, the classification of brain tumors has evolved as medical science has advanced. The National Cancer Institute and other leading neurological institutions categorize these tumors into myriad types, each demanding tailored treatment strategies. For instance, malignant tumors possess the aggressive ability to invade surrounding brain tissue, often requiring complex interventions that may include surgery, radiation, and chemotherapy. Understanding whether a growth is benign or malignant is not just a matter of terminology; it directly impacts the urgency and nature of the interventions required. Symptoms often overlap between benign and malignant tumors, complicating self-diagnosis and reinforcing the necessity for professional evaluation. Medical imaging techniques such as MRI and CT scans, along with biopsies, are essential to ascertain the nature of the tumor. Experts caution against relying on symptomatology alone, as the presence of alarming symptoms could mask a benign condition, while milder manifestations could signify a malignant threat. As such, timely medical evaluation is paramount, as early detection can significantly enhance treatment effectiveness and patient quality of life."},"img":{"url":"https://images.prismic.io/prad/f6803c8c-7220-433e-b58f-ef269a3ecf79_brain+stroke.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-07-24T10:10:00+0000","embed":{"embed_url":null}},"uid":"the-distinction-between-brain-tumors-and-brain-can"}},{"node":{"data":{"title":{"text":"Heatwaves, Sleepless Nights"},"content":{"text":"As the world grapples with the escalating repercussions of climate change, a less visible yet profoundly affecting consequence is emerging: significant sleep loss. Current research indicates that individuals in India are losing nearly four nights of sleep annually due to rising nighttime temperatures driven by climate change. Specifically, average citizens are suffering an estimated sleep deprivation of 56 hours each year, a disturbing trend that has doubled since the 1970s. This phenomenon is particularly acute in Southern India and Southeast Asia, where soaring nighttime temperatures have rendered restful sleep increasingly elusive. A recent study conducted by Climate Central, a respected US-based climate science organization, sheds light on the quantifiable impact of climate change on human sleep patterns. The analysis reveals that from 2020 to 2025, global average losses in sleep reached nearly 56 hours, with over six hours directly attributed to climate change rather than seasonal fluctuations. This groundbreaking research merges existing studies on heat and sleep with empirical temperature data, highlighting the stark reality that warmer nights are profoundly undermining the quality of rest for millions. With findings spanning 1,338 cities worldwide, the analysis indicates a troubling acceleration in sleep loss, particularly in urban areas where heat islands intensify nighttime temperatures. Regions most adversely affected include cities in the Middle East, where residents in Saudi Arabia, Oman, and the UAE report losing between 55 and 87 hours of sleep each year, with 12 to 16 hours attributable to climate change alone. In contrast, the United States presents a slightly milder scenario, with average sleep losses around 36 hours annually, though climate-related losses have nearly tripled since the early 1970s. States such as Arizona and California are notably suffering from extreme heat, exacerbating the public health crisis stemming from sleep deprivation. In comparison, Indian citizens, particularly in the warmer southern states, face staggering sleep losses of between 78 to 91 hours, with a significant portion directly linked to anthropogenic climate factors. The implications of this widespread sleep deficiency are deeply troubling, extending beyond mere fatigue. Research consistently correlates poor sleep with numerous health issues, including impaired mood, cognitive decline, and increased susceptibility to cardiovascular and immune system disorders. As the burden of sleep loss accumulates, it becomes increasingly detrimental to individuals already struggling to achieve restorative sleep. While air conditioning may mitigate some impacts, access remains inequitable, with only about 35% of households equipped with cooling systems as of 2021, disproportionately affecting lower-income populations. Consequently, the underreported consequences of climate-induced sleep deprivation reflect a critical challenge that demands urgent attention from policymakers and health advocates alike."},"img":{"url":"https://images.prismic.io/prad%2F37239656-628a-4814-9f5d-a1f31a14cfd0_sleep.jpg?auto=format%2Ccompress&rect=0%2C108%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-07-17T17:03:00+0000","embed":{"embed_url":null}},"uid":"heatwaves-sleepless-nights"}},{"node":{"data":{"title":{"text":"How Smoking Hurts Pregnancy!"},"content":{"text":"When planning to start a family, many couples focus on preparing for pregnancy by discussing nursery plans and choosing baby names. However, what often goes unnoticed is the detrimental impact of smoking on fertility and pregnancy. Cigarette smoke contains harmful chemicals that can damage reproductive cells in both men and women, making it harder to conceive and increasing the risk of pregnancy complications and poor outcomes for babies.  Dr. Vandana Bhatia, a Senior Fertility Specialist, emphasizes that smoking silently affects fertility, pregnancy, and the long-term development of the child. Both partners play a crucial role in protecting fertility as smoking can reduce sperm count, affect sperm movement, and damage egg quality, hormone levels, and ovarian reserve. Additionally, passive smoking also poses risks to fertility and pregnancy outcomes. Quitting smoking as a couple not only improves motivation and emotional support but also encourages healthier habits, leading to improved fertility and overall health.  The quality of eggs and sperm before conception significantly influences the health of the future child, making it essential for both parents to quit smoking before starting a family. Dr. Bhatia recommends practical steps for quitting smoking together, emphasizing that healthy choices are crucial in building a healthy family. Parenthood begins with the quiet promise of choosing health together, even before the first heartbeat is heard on an ultrasound."},"img":{"url":"https://images.prismic.io/prad/akDOG1bRV8_Qf8Cd_smokefertility.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-27T19:33:00+0000","embed":{"embed_url":null}},"uid":"how-smoking-hurts-pregnancy"}},{"node":{"data":{"title":{"text":"Even 1% Sleep Loss Could Heighten Dementia Risk"},"content":{"text":"A recent study published in JAMA Neurology has shed light on the potential link between minimal sleep loss and an increased risk of dementia. The research suggests that as little as a 1% reduction in deep sleep per year for individuals over 60 could translate to a 27% elevated risk of developing dementia. Deep sleep, also known as slow-wave sleep, plays a crucial role in the body's repair processes and the clearance of toxic proteins associated with dementia.  Associate Professor Matthew Pase from Monash University's Turner Institute for Brain and Mental Health emphasized the significance of deep sleep in supporting the aging brain and facilitating the removal of metabolic waste, including proteins linked to Alzheimer's disease. The study, which drew from the Framingham Heart Study, examined 346 participants over 60 years of age, tracking their sleep patterns and dementia development over a 17-year period. Even after adjusting for various factors, including age, genetic predisposition, and medication use, the findings consistently pointed to a 27% increased dementia risk for each percentage decrease in deep sleep annually.  It's important to note that the natural decline in deep sleep with age is gradual, peaking between 75 and 80 years old and then stabilizing. However, the cumulative effect of a 27% increase per percentage-point decrease underscores the long-term impact on dementia risk. While there's no straightforward solution to preserving deep sleep, maintaining consistent sleep schedules, avoiding alcohol before bedtime, creating a conducive sleep environment, and addressing conditions like sleep apnea can potentially support better sleep quality. Additionally, regular exercise has been linked to improved slow-wave sleep in older adults. Although these measures aren't a guarantee, the study highlights the importance of prioritizing deep sleep for brain health as individuals age."},"img":{"url":"https://images.prismic.io/prad/50a54145-f24c-4c83-80b9-e6d19ba52027_sleep.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-25T06:59:00+0000","embed":{"embed_url":null}},"uid":"even-1-sleep-loss-could-heighten-dementia-risk"}},{"node":{"data":{"title":{"text":"Is Your Soda Habit Causing Hair Loss?"},"content":{"text":"Are your beloved sodas harming your hair? While soft drinks have long been criticized for their impact on weight, diabetes, and heart health, a new concern has emerged regarding their potential effects on hair. The discussion gained traction after hair transplant surgeon Dr. Abhishek Pilani highlighted the issue on Raj Shamani's Figuring Out podcast.  According to Dr. Pilani, regular consumption of sugary cold drinks may create conditions within the body that are not conducive to healthy hair growth. While consuming one soda is unlikely to cause sudden hair loss, a study published in the journal Nutrients in 2023 found a link between higher consumption of sugar-sweetened beverages and male-pattern hair loss in young men. However, it's essential to note that the study established a correlation, not causation. The potential connection between soft drinks and hair health lies in the impact of high-sugar beverages on overall health.  Excessive sugar consumption can lead to repeated spikes in blood sugar and insulin levels, potentially contributing to inflammation and metabolic issues that affect the body, including hair growth. However, hair loss is rarely attributed to a single factor and is typically the result of various elements accumulating over time, including genetics, hormones, nutrition, lifestyle, and overall health. Healthy hair growth relies on a balanced intake of nutrients such as iron, protein, zinc, vitamin D, and B vitamins. While soft drinks don't directly deplete these nutrients, excessive consumption may lead to healthier options being replaced.  The concern lies in long-term habits rather than occasional consumption. The normal range of daily hair loss is between 50 and 100 strands, but concerns arise when lost hairs aren't adequately replaced. While soft drinks may not directly cause hair loss, their impact on overall health could potentially affect hair growth. Instead of fixating on individual cans of soda, experts emphasize the importance of considering overall lifestyle factors such as sleep, stress management, balanced nutrition, and reduced sugar intake. Ultimately, addressing concerns about hair health may begin with dietary and lifestyle adjustments."},"img":{"url":"https://images.prismic.io/prad/aDbfAydWJ-7kSniS_jucessoda.JPG?auto=format,compress"},"datetime":"2026-06-11T18:30:00+0000","embed":{"embed_url":null}},"uid":"is-your-soda-habit-causing-hair-loss"}}]},"nri":{"edges":[{"node":{"data":{"title":{"text":"Suhas Subramanyam: FBI monitored my calls "},"content":{"text":"Indian American Congressman Suhas Subramanyam has said the FBI and Justice Department informed him that his telephone conversations with a senior Virginia state lawmaker were monitored as part of a federal investigation, calling the surveillance “deeply concerning” and its timing “extremely suspicious.”  Subramanyam, a Democrat representing Virginia's 10th Congressional District, said Thursday that the monitored conversations were with Virginia State Senator Louise Lucas, who serves as President Pro Tempore of the state Senate. “The FBI and DOJ recently informed me that my phone conversations with State Senator and President Pro Tempore Louise Lucas were being monitored as part of their investigation into Senator Lucas,” Subramanyam said. “This is deeply concerning.” The Congressman said the wiretap took place between March and May, a politically consequential period in Virginia. “The timing of this wiretap and investigation is extremely suspicious,” he said. “The tap took place between March and May, which was at the peak of campaigning for the redistricting referendum in Virginia.” Subramanyam also linked the timing to congressional efforts to question Attorney General Pam Bondi over the investigation involving Jeffrey Epstein. “This was also while the Oversight Committee was calling on Pam Bondi to testify on the Epstein investigation,” he said. “This should concern anyone who believes in a real Department of Justice that serves the American people and not a singular President.” Subramanyam accused the Trump administration of using the Justice Department against political opponents. “Trump’s DOJ has become his own personal law firm, with his former personal attorney carrying out vendettas on Trump’s political enemies,” he said. “They have politically investigated multiple states’ Attorneys General and the former FBI director. Now they admit they have surveilled conversations by a sitting Democratic Congressman.” The Justice Department and FBI did not immediately respond in Subramanyam's statement to his allegations about the motivation for the surveillance. His statement also does not say that Subramanyam himself was the target of the investigation. Instead, the Congressman said his conversations were monitored “as part of their investigation into Senator Lucas.” Subramanyam vowed that the episode would not deter Democrats from challenging the administration. “If this surveillance was done to scare us and to get Democrats to stop pushing back against Trump’s political overreach, they are mistaken,” he said. “We will not back down. We will continue our investigations into this President and his corrupt administration.” Subramanyam, who was born in Bengaluru and raised in the United States, was elected to Congress from Virginia in 2024 after previously serving in the Virginia General Assembly. A lawyer and former technology policy adviser in the Obama administration, he became one of a growing number of Indian Americans serving in the US Congress."},"img":{"url":"https://images.prismic.io/prad/NrrTZX3ybGP7vsJ-_suhassubramanyam.JPG?auto=format%2Ccompress&rect=0%2C90%2C447%2C220&w=2028&h=1000"},"datetime":"2026-09-04T04:55:00+0000","embed":{"embed_url":null}},"uid":"suhas-subramanyam-fbi-monitored-my-calls-"}},{"node":{"data":{"title":{"text":"US warns EB-1 green cards may shut for India"},"content":{"text":"The United States has warned that employment-based first-preference green cards for Indians could become unavailable within weeks because of heavy demand, adding fresh pressure to an already severe backlog that has left another major category closed to Indian applicants. The State Department, in its September Visa Bulletin, said high demand and use of EB-1 immigrant visa numbers by applicants chargeable to India could exhaust the country's allocation before the US fiscal year ends on September 30. \"High demand and number use by aliens chargeable to India in the EB-1 visa category may necessitate making the category unavailable in the coming weeks if India's pro-rated limit in the EB-1 category is reached before the fiscal year ends,\" the State Department said. “This situation will be continually monitored, and any necessary adjustments will be made accordingly,” it said. EB-1 is the employment-based first-preference category, covering priority workers including people with extraordinary ability, outstanding professors and researchers and certain multinational executives and managers. The warning is particularly significant for Indians because several other employment-based green-card queues are already severely constrained. For September, the EB-1 India final action date is October 15, 2022. That means an Indian applicant generally must have a priority date earlier than the listed cutoff for a visa number to be available for final action, subject to other eligibility requirements. India's EB-2 category, which covers professionals holding advanced degrees and people of exceptional ability, is listed as “U” -- unavailable -- in the September bulletin. The State Department defines “U” as meaning visa numbers are not authorised for issuance in that category during the period concerned. EB-2 India was already unavailable in August and remains so in September. The backlog is also stark in the employment-based third-preference category. The EB-3 India final action date for September is January 1, 2014, meaning the queue stretches back more than 12 years. For comparison, EB-3 is September 1, 2024 for most countries not separately listed in the bulletin, January 1, 2022 for mainland China and August 1, 2023 for the Philippines. India's unreserved EB-5 investor category is also unavailable for final action in September, although the EB-5 set-aside categories for rural projects, high-unemployment areas and infrastructure remain current for all countries. The filing dates offer somewhat more room than the final-action dates. For India, the September dates-for-filing chart lists December 1, 2023 for EB-1, January 15, 2015 for EB-2 and January 15, 2015 for EB-3. Applicants seeking adjustment of status inside the United States, however, must check which chart US Citizenship and Immigration Services authorises for use in a particular month. The pressure on Indian employment-based applicants stems in large part from the combination of heavy demand and statutory limits on the number of employment-based immigrant visas available each year. For fiscal 2026, the State Department says the worldwide employment-based preference limit is 186,317. US immigration law also generally imposes a 7 per cent per-country limit across family- and employment-based preference visas, although carryover provisions affect the final calculations."},"img":{"url":"https://images.prismic.io/prad/f5NevUN1wAuuQipa_EB1GC.JPG?auto=format,compress"},"datetime":"2026-09-03T03:20:00+0000","embed":{"embed_url":null}},"uid":"us-warns-eb-1-green-cards-may-shut-for-india"}},{"node":{"data":{"title":{"text":"US clears plan to scrap H-1B job-loss window"},"content":{"text":"The Trump administration has completed its review of a proposal to eliminate the discretionary 60-day grace period available to H-1B and other foreign professionals after their employment ends, potentially affecting thousands of Indian workers and their families. The Department of Homeland Security proposal, titled “Eliminating the Discretionary 60-day Grace Period”, was submitted to the White House Office of Information and Regulatory Affairs on August 6. The review concluded on August 27 with the action listed as “Consistent with Change”, according to the official regulatory record. The designation means the proposal cleared the White House review process with changes. The proposal has not been published, and its full provisions remain unavailable. The existing 60-day protection therefore remains in force. The next step would ordinarily be publication of the proposed rule in the Federal Register, followed by a public comment period. DHS would then have to consider the comments and issue a final rule before any change could take effect. The proposal carries Regulatory Information Number 1615-AD22 and is being developed by US Citizenship and Immigration Services. The regulatory record describes it as a proposed rule that is not economically significant and has no legal deadline. Under the current regulation, eligible workers may receive up to 60 consecutive days after their employment ends, or until the expiration of their authorised stay, whichever period is shorter. The window allows affected workers to find another employer willing to sponsor them, seek a change of immigration status or prepare to leave the United States. It covers people holding H-1B, L-1, O-1 and several other temporary employment visas. Indian nationals, who constitute the largest group of H-1B beneficiaries, could face particular uncertainty if the administration proceeds with the proposal. Ajay Jain Bhutoria, a former member of the President’s Advisory Commission on Asian Americans, Native Hawaiians and Pacific Islanders, condemned the proposed change and called for the existing grace period to be extended rather than eliminated. “I strongly condemn and slam this proposed DHS policy. Eliminating the 60-day grace period is both inhumane and unworkable. When a high-skilled worker faces a sudden termination, 60 days was already dangerously short. Stripping away this protection entirely leaves thousands of law-abiding individuals with zero time to wrap up their lives,” Bhutoria said. He warned that affected families may not have sufficient time to manage their homes, children’s education and other personal matters after an unexpected termination. Bhutoria said he had secured unanimous support from the White House advisory commission in 2023 for a recommendation to extend the grace period from 60 days to 180 days. He argued that recruitment in technology, healthcare and engineering frequently involves several interviews, followed by immigration paperwork required to transfer a worker’s status to a new employer. “Eliminating the 60-day grace period for retrenched H-1B workers is a drastic step backward. When I presented my recommendation to the White House AANHPI Commission in March 2023 to extend the window to 180 days, it was grounded in the reality of corporate hiring—where multi-stage interview cycles and visa transfer paperwork take months to complete,” Bhutoria said. “Removing this window entirely will force skilled Indian professionals and their families out of the country overnight. I call on community organizations and business leaders across the U.S. to mobilize and submit public comments against this regulation as soon as it opens in the Federal Register,” he added. The 60-day provision became effective in January 2017 as part of a broader regulation covering high-skilled immigrant and non-immigrant workers. It permits the grace period once during each authorised validity period but allows immigration authorities to shorten or deny it as a matter of discretion. The H-1B programme permits American employers to hire foreign professionals for specialised occupations requiring advanced knowledge. Technology companies are among its largest users, and Indian nationals have consistently accounted for a substantial majority of approved H-1B beneficiaries."},"img":{"url":"https://images.prismic.io/prad%2Fcf9b726b-0761-4f6a-bef9-41aa90a09c27_h1b+visa.jpg?auto=format%2Ccompress&rect=0%2C18%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-08-29T01:45:00+0000","embed":{"embed_url":null}},"uid":"us-clears-plan-to-scrap-h-1b-job-loss-window"}},{"node":{"data":{"title":{"text":"Indian applicants to US colleges fall 15 %"},"content":{"text":"The number of students from India seeking first-year undergraduate admission to US colleges through the Common Application fell 15 per cent during the 2025–26 admissions cycle, reversing years of rapid growth. India recorded 14,424 applicants, down from about 16,900 during the previous cycle, according to Common App's end-of-season report released on August 20. The decline was sharper than the two per cent fall recorded for China, which remained the largest source of international applicants on the platform with 18,435 students. China now has 4,011 more international applicants than India. The gap had narrowed to about 1,000 during the 2023–24 admissions cycle after years of strong growth from India and a prolonged decline from China. Common App did not identify a reason for the fall in Indian applications. International applicants overall fell 10 per cent from the previous year. Applicants from Asia, the largest source region outside the United States, declined 11 per cent to 79,287. The report said the Asian decline was driven by the 15 per cent reduction in applicants from India. The change stands in contrast to the broader Common App pool. A total of 1,527,328 first-year applicants used the platform during the cycle, two per cent more than in 2024–25. Those students submitted about 10.79 million applications to 1,146 member institutions. Total applications rose six per cent, indicating that students applied to more colleges even though the overall applicant count grew more slowly. Each applicant submitted an average of 7.06 applications, up from 6.79 during the previous cycle. India's latest decline followed almost a decade of expansion. Common App recorded about 7,900 first-year international applicants from India in 2016–17, compared with nearly 29,700 from China. The Indian number rose gradually before accelerating to about 16,900 in 2021–22. It remained near that level for the next three cycles, bringing India close to overtaking China as the leading international source country on the platform. The fall to 14,424 erased a significant part of those recent gains. China, meanwhile, declined from nearly 29,700 applicants in 2016–17 to 18,435 in the latest cycle. A different pattern emerged among applicants already living in the United States. The number of domestic applicants identifying with an Indian background rose six per cent to 40,949. That figure has more than doubled from nearly 18,500 in 2016–17. Domestic applicants reporting a Chinese background increased one per cent to 26,296 during the latest cycle. The divergence means the number of US-based applicants identifying as Indian continued to grow even as applications from students residing in India declined. The Common App report covers applicants to its member institutions and does not represent every undergraduate applicant or university in the United States. India remains the largest source of international students in the United States. The latest available Open Doors data counted 363,019 students from India during the 2024–25 academic year, an increase of 10 per cent from the previous year."},"img":{"url":"https://images.prismic.io/prad/964c631e-7f0b-40f5-b5e9-2a6ead05e4da_US+University.JPG?auto=format,compress"},"datetime":"2026-08-26T18:42:00+0000","embed":{"embed_url":null}},"uid":"indian-applicants-to-us-colleges-fall-15-"}}]},"videos":{"edges":[{"node":{"data":{"title":{"text":"The Paradise: 'Yeshanagula Katta Meeda' Song"},"img":{"url":"https://images.prismic.io/prad/6e1Re5QxT_20hJqe_paradiseyeshakulasong.JPG?auto=format%2Ccompress&rect=0%2C12%2C870%2C429&w=2028&h=1000"},"datetime":"2026-08-30T06:30:00+0000","third_party_url":null},"uid":"the-paradise-yeshanagula-katta-meeda-song"}},{"node":{"data":{"title":{"text":"'Mahendragiri Varahi' Movie Trailer"},"img":{"url":"https://images.prismic.io/prad/Fw4Thm7zri3IDsEk_MGVH.JPG?auto=format%2Ccompress&rect=0%2C0%2C1500%2C740&w=2028&h=1000"},"datetime":"2026-08-29T00:31:00+0000","third_party_url":null},"uid":"mahendragiri-varahi-movie-trailer"}},{"node":{"data":{"title":{"text":"'SAHAA – Life of Sanju' Trailer"},"img":{"url":"https://images.prismic.io/prad/3Ug3la2eZXL8pEX8_saahaytrailer.JPG?auto=format%2Ccompress&rect=0%2C11%2C1000%2C493&w=2028&h=1000"},"datetime":"2026-08-27T13:39:00+0000","third_party_url":null},"uid":"sahaa--life-of-sanju-trailer"}},{"node":{"data":{"title":{"text":"‘Loser’ song from 'I'm Game'"},"img":{"url":"https://images.prismic.io/prad/aB_IJQYcS-TqoGVO_dalquar.JPG?auto=format%2Ccompress&rect=0%2C49%2C450%2C222&w=2028&h=1000"},"datetime":"2026-08-27T13:25:00+0000","third_party_url":null},"uid":"loser-song-from-im-game"}},{"node":{"data":{"title":{"text":"'Gandhari' Official Trailer"},"img":{"url":"https://images.prismic.io/prad/3KmH-A7IvReHZGWx_gandharitrailer.JPG?auto=format,compress&rect=0,42,1200,592&w=2028&h=1000"},"datetime":"2026-08-26T06:10:00+0000","third_party_url":null},"uid":"gandhari-official-trailer"}},{"node":{"data":{"title":{"text":"'Aakali Rajyam' Movie Trailer"},"img":{"url":"https://images.prismic.io/prad/TsSxlLU-iWjK6X1g_aakalirajyamtrailer.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-08-26T07:42:00+0000","third_party_url":null},"uid":"aakali-rajyam-movie-trailer"}}]},"editorial":{"edges":[{"node":{"data":{"title":{"text":"SIR In AP: The Wolf Upstream?"},"img":{"url":"https://images.prismic.io/prad/YKvJX6gngj-HeU7O_SIRAP.JPG?auto=format%2Ccompress&rect=0%2C22%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-08T08:07:00+0000","third_party_url":null},"uid":"sir-in-ap-the-wolf-upstream"}},{"node":{"data":{"title":{"text":"PK: The Accidental Politician Of Amaravati?"},"img":{"url":"https://images.prismic.io/prad/ajea3I1P9HI4UxBN_pk.JPG?auto=format%2Ccompress&rect=0%2C2%2C2020%2C996&w=2028&h=1000"},"datetime":"2026-09-07T07:30:00+0000","third_party_url":null},"uid":"pk-the-accidental-politician-of-amaravati"}},{"node":{"data":{"title":{"text":"Economic Growth Or Statistical Gymnastics?"},"img":{"url":"https://images.prismic.io/prad/mmySRn6BtMx-1bu6_GDP.JPG?auto=format,compress"},"datetime":"2026-09-04T08:16:00+0000","third_party_url":null},"uid":"economic-growth-or-statistical-gymnastics"}},{"node":{"data":{"title":{"text":"Nature Doesn’t Take Revenge—It Restores Balance!!"},"img":{"url":"https://images.prismic.io/prad/H63x9RPb7Waa66vJ_nature.JPG?auto=format,compress"},"datetime":"2026-09-01T06:31:00+0000","third_party_url":null},"uid":"nature-doesnt-take-revengeit-restores-balance"}}]},"gallery":{"edges":[{"node":{"tags":["gallery"],"last_publication_date":"2026-08-12T08:19:18+0000","data":{"title":{"text":"Mouni Roy Glam Stills"},"content":{"text":"Mouni Roy is an Indian actress who primarily works in Hindi television and films. One of the highest-paid television actresses in India, Roy is widely known for her portrayal of a shape-shifting snake in Naagin and its sequel Naagin 2."},"img":{"url":"https://images.prismic.io/prad/8nkSdpm8T3G0jWQk_mouniroy2028.JPG?auto=format,compress"}},"uid":"mouni-roy-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-08-07T16:20:40+0000","data":{"title":{"text":"Vishnu Priya Latest Spicy Stills"},"content":{"text":"Vishnupriya Ramchandran Pillai (born in Bahrain), known mononymously and better as Vishnupriya, is an Indian actress, dancer and model. She started off her career participating in the dance reality show Vodafone Thakadimi which was aired on Asianet. She made her acting debut in 2007 with Speed Track, playing a supporting character. Later, she played the lead character in Keralotsavam 2009 and got noticed for her character in Penpattanam (2010)."},"img":{"url":"https://images.prismic.io/prad/EKRVCL6edvfOM1nL_vp2028.JPG?auto=format,compress"}},"uid":"vishnu-priya-latest-spicy-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-07-21T16:54:06+0000","data":{"title":{"text":"Shraddha Das Spicy Pics"},"content":{"text":"Shraddha Das is an Indian actress and model who predominantly appears in Telugu, Hindi, Bengali, and Kannada language films. She made her acting debut in the 2008 Telugu film Siddu from Sikakulam, and since then has worked across six different film industries throughout her career."},"img":{"url":"https://images.prismic.io/prad/J5KjgIk60wE63lRg_shraddhadas.JPG?auto=format,compress"}},"uid":"shraddha-das-spicy-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-07-20T16:44:06+0000","data":{"title":{"text":"Rakul Looks Radiant In Yellow Saree"},"content":{"text":"Rakul Preet Singh is an Indian actress who predominantly works in Telugu, Hindi and Tamil films. Singh is a recipient of several accolades including a SIIMA Award, in addition to four nominations at the Filmfare Awards South. Singh started her career as a model and made her acting debut with the Kannada film Gilli"},"img":{"url":"https://images.prismic.io/prad/_eGbGvnqa1VVLLAH_rps2028.JPG?auto=format,compress"}},"uid":"rakul-looks-radiant-in-yellow-saree"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-07-17T12:42:16+0000","data":{"title":{"text":"Pragya Jaiswal Spicy Stills"},"content":{"text":"Pragya Jaiswal is an Indian actress and model who predominantly works in Telugu films. She made her acting debut in 2014 with the Tamil-language film Virattu in 2014. Jaiswal had her breakthrough with the Telugu period drama Kanche, for which she was awarded the Filmfare Award for Best Female Debut."},"img":{"url":"https://images.prismic.io/prad/HTcjp1FBdNZf7hDK_pragya2028.JPG?auto=format,compress"}},"uid":"pragya-jaiswal-spicy-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-06-27T18:04:47+0000","data":{"title":{"text":"Aakankshaa Glam Stills"},"content":{"text":"Aakankshaa Glam Stills"},"img":{"url":"https://images.prismic.io/prad/aj-0fFbRV8_Qf7sW_aakankshaa.JPG?auto=format,compress"}},"uid":"aakankshaa-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-06-27T18:04:47+0000","data":{"title":{"text":"Anasuya Bharadwaj Saree Pics"},"content":{"text":"Anasuya Bharadwaj is an Indian television presenter and actress who works in Telugu films and television. She has received two SIIMA Awards, an IIFA Utsavam Award and a Filmfare Award South for her performances in Kshanam and Rangasthalam."},"img":{"url":"https://images.prismic.io/prad/aj-3gFbRV8_Qf7se_anasuya2028.JPG?auto=format,compress"}},"uid":"anasuya-bharadwaj-saree-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-05-02T12:20:57+0000","data":{"title":{"text":"Kajal Aggarwal Stunning Stills"},"content":{"text":"Kajal A Kitchlu, known professionally as Kajal Aggarwal, is an Indian actress who predominantly works in Telugu, Tamil and Hindi films. Aggarwal is considered one of the highest paid actresses of South Indian cinema. She is a recipient of three SIIMA Awards and a Filmfare Award."},"img":{"url":"https://images.prismic.io/prad/afXrHcBOoF08xjQk_kajal2028.JPG?auto=format,compress"}},"uid":"kajal-aggarwal-stunning-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-04-14T10:45:57+0000","data":{"title":{"text":"Janhvi Kapoor Radiant Look Stills "},"content":{"text":"Janhvi Kapoor is an Indian actress who works predominantly in Hindi films. Born to film actress Sridevi and producer Boney Kapoor, she made her acting debut in 2018 with the romantic drama Dhadak, which was a commercial success."},"img":{"url":"https://images.prismic.io/prad/ad3-7Z1ZCF7ETKag_janhvi2028.JPG?auto=format,compress"}},"uid":"janhvi-kapoor-radiant-look-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-04-02T15:03:07+0000","data":{"title":{"text":"Nabha Natesh Glam Pics"},"content":{"text":"Nabha Natesh is an Indian actress and model who primarily appears in Telugu films. She made her debut with Kannada film Vajrakaya and later in Telugu with Nannu Dochukunduvate. She had her breakthrough with iSmart Shankar in 2019 due to which she is popularly referred as \"Ismart Beauty\" in the media."},"img":{"url":"https://images.prismic.io/prad/ac6Er5GXnQHGZNWp_nabha2028.JPG?auto=format,compress"}},"uid":"nabha-natesh-glam-pics"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-29T11:03:07+0000","data":{"title":{"text":"Nidhhi Agerwal Royal Blue Sari Stills"},"content":{"text":"Nidhhi Agerwal is an Indian actress who primarily works in Telugu and Tamil films. After participating in Miss Diva Universe 2014, Agerwal made her acting debut with the Hindi film Munna Michael, for which she received Zee Cine Award for Best Female Debut."},"img":{"url":"https://images.prismic.io/prad/ackGR5GXnQHGZEvS_nidhhi2028.jpg?auto=format,compress"}},"uid":"nidhhi-agerwal-royal-blue-sari-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-29T07:22:02+0000","data":{"title":{"text":"Rakul New Glam Stills"},"content":{"text":"Rakul Preet Singh is an Indian actress who predominantly works in Telugu, Hindi and Tamil films. She has won a South Indian International Movie Award, in addition to four nominations at the Filmfare Awards South. Singh made her acting debut with the Kannada film Gilli."},"img":{"url":"https://images.prismic.io/prad/acjShZGXnQHGZErj_RPS2028.jpg?auto=format,compress"}},"uid":"rakul-new-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-17T09:44:26+0000","data":{"title":{"text":"Rashi Khanna New Glam Stills"},"content":{"text":"Rashii Khanna (born 30 November 1990) is an Indian actress and playback singer who predominantly works in Telugu and Tamil film industries. She made her acting debut in a supporting role with the Hindi film Madras Cafe (2013) and subsequently made her debut as female lead with Telugu film Oohalu Gusagusalade (2014), in Tamil with Imaikkaa Nodigal (2018) and Malayalam with Villain (2017)."},"img":{"url":"https://images.prismic.io/prad/abkhxbbci2UF6Gme_rashikhanna.JPG?auto=format,compress"}},"uid":"rashi-khanna-new-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-12T18:30:32+0000","data":{"title":{"text":"Meenakshi Chaudhary Red Bold Stills"},"content":{"text":"Meenakshi Chaudhary is an Indian actress and beauty pageant titleholder who works predominantly in Telugu and Tamil films. She represented the state of Haryana at the Femina Miss India 2018 pageant, where she was crowned as Femina Miss India Grand International 2018."},"img":{"url":"https://images.prismic.io/prad/abMFmVxvIZEnjoQC_meenakshi2028.JPG?auto=format,compress"}},"uid":"meenakshi-chaudhary-red-bold-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-10T18:35:00+0000","data":{"title":{"text":"Shruti Haasan Glam Stills"},"content":{"text":"Shruti Haasan is an Indian actress and singer who works in Telugu, Tamil and Hindi films. She is the recipient of various accolades, including two Filmfare Award South and seven South Indian International Movie Awards. Haasan has appeared in Forbes India's Celebrity 100 list of 2015 and 2016."},"img":{"url":"https://images.prismic.io/prad/aa__a1xvIZEnjhl8_shruthi2028.JPG?auto=format,compress"}},"uid":"shruti-haasan-glam-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-03-03T18:03:05+0000","data":{"title":{"text":"Bhagyashri Borse New Stills"},"content":{"text":"Bhagyashri Borse is an Indian actress who appears primarily in South films. After doing cameo appearances in Hindi films Yaariyan 2 and Chandu Champion, she made her lead debut in South with the Telugu film Mr. Bachchan for which she has won the SIIMA Award for Best Female Debut – Telugu."},"img":{"url":"https://images.prismic.io/prad/aachiFxvIZEnjSV9_bhagya2028.JPG?auto=format,compress"}},"uid":"bhagyashri-borse-new-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-02-27T11:14:55+0000","data":{"title":{"text":"ViRosh Wedding Stills"},"content":{"text":"ViRosh Wedding Stills"},"img":{"url":"https://images.prismic.io/prad/aaF4t8FoBIGEg6zW_virosh.JPG?auto=format,compress"}},"uid":"virosh-wedding-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-02-21T12:37:04+0000","data":{"title":{"text":"Niharika Konidela New Stills"},"content":{"text":"Niharika Konidela is an Indian actress and producer who predominantly works in Telugu films. She made her debut with the film Oka Manasu. She produces films and web series under her banner. "},"img":{"url":"https://images.prismic.io/prad/aZmdKsFoBIGEgndO_niharika2028.JPG?auto=format,compress"}},"uid":"niharika-konidela-new-stills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-02-01T18:21:28+0000","data":{"title":{"text":"Rashmi Gautam Red Hot Sills"},"content":{"text":"Rashmi Gautam is an Indian actress and television presenter who appears in Telugu-language films and TV. She hosts the Telugu television comedy show Extra Jabardasth and is a conceptual team leader in reality dance show Dhee."},"img":{"url":"https://images.prismic.io/prad/aX-WA90YXLCxVPdl_rashmi2028.JPG?auto=format,compress"}},"uid":"rashmi-gautam-red-hot-sills"}},{"node":{"tags":["gallery"],"last_publication_date":"2026-01-29T19:41:55+0000","data":{"title":{"text":"Rithu Chowdary Glam Stills"},"content":{"text":"Rithu Chowdary is an Indian actress and anchor known for her work in Telugu television and films. She began her career as an anchor on Star Maa Music and gained popularity through reality shows like Pelli Choopulu (2018). She debuted in Telugu TV with the serial Gorintaku (2019) and later appeared in Suryavamsam and Inti Guttu. Her film debut was in Mouname Ishtam (2019), followed by a role in Uppena (2021). Rithu is also a regular on comedy shows like Jabardasth and Sridevi Drama Company, known for her comedic timing and charm. In 2021, she launched her YouTube channel, Rithu Chowdhary, with over 70,000 subscribers. She participated in Bigg Boss Telugu Season 8 (2024)."},"img":{"url":"https://images.prismic.io/prad/aXu3QAIvOtkhCGJU_rithuchoudhary.JPG?auto=format,compress"}},"uid":"rithu-chowdary-glam-stills"}}]},"one":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"SIR In AP: The Wolf Upstream?"},"content":{"text":"“The burden of proof for correction rests on the shoulders of citizens, while the organization's registrations and decisions are understood as valid until proven otherwise…”- — Donald P. Moynihan and Pamela Herd, The Political Economy of Administrative Burdens This quote exposes a bitter fact on how states use administrative burdens to quietly control or strip away rights of its subjects. Once upon a time, a Wolf stood at the top of a clean stream, while a Lamb drank further down. The Wolf growled, \"You are muddying my water!\" The Lamb, using simple logic, replied, \"Sir, the water flows from you to me, not the other way around.\" Unmoved by physics, the Wolf declared, \"That is a logical mismatch! By standing there, you possess an inherent intent to contaminate.\" The Wolf then mandated that the Lamb submit a certified history of her hoof-prints to prove her eligibility to drink. Before the Lamb could even find a pencil, the Wolf noted a \"mapping failure\" in her response time and ate her—strictly to protect the river's ecosystem. If the allegations of the opposition and civil rights activists are to be believed, today, this classic fable is playing out as a grand administrative exercise called SIR across Andhra Pradesh. The allegations infer that under Article 324 of the Constitution and Section 21(3) of the Representation of the People Act, 1950, the election machinery has taken the position of the Wolf upstream. Armed with software instead of teeth, the Election Commission looks down at the voter list and declares millions of citizens to be \"discrepancies,\" force-shifting the burden of proof entirely onto the citizens, allege the critics. These complaints reflect serious operational, legal, and political disputes, directly outlining how an administrative exercise can be weaponized to disenfranchise citizens. The primary, exact complaints lodged by political parties (including the YSRCP), civil rights organizations, and the BJP center around aspects like a targeted \"sympathizers’ purge,\" data misuse through private political apps, and a massive scale of voter removal. This has attracted accusations that the sheer scale of deletions is not a correcting process, but rather an over-enthusiastic automated filtering instead of meticulous human verification. A specific technical complaint arose regarding the complete absence of 2002/2003 electoral roll data, which is legally required to map long-term voter history. This data deficit has made authentic cross-verification of historical residency impossible, leading to a high volume of arbitrary \"mapping failures.\" Unlike past annual summary revisions, the ECI introduced a mandatory requirement of producing formal documentary proof at the initial enumeration phase. Citizens complained that they were given unrealistic, short deadlines to produce deep documentation. If they failed to hand over physical papers instantly to an under-trained Booth Level Officer (BLO), they were marked as \"absent\" or \"shifted\" on the spot without due process. To ensure the Lamb never stood a chance, the state launched a \"polling station rationalization\" drive at the exact same time as the revision, alleged the opposition. This mid-process shift of booth boundaries creates chaotic structural mapping errors, effectively fragmenting family units across distant voting centers. On the ground, overworked BLOs face an acute shortage of physical registration forms, forcing them to demand instant, unrealistic on-spot proof from voters. If a citizen cannot produce immediate documentation at their doorstep, they are marked as \"absent\" on the spot. The above allegations reflect that the state doesn’t have to prove you are a fake voter; you have to prove you are a real human being. If a citizen cannot navigate the bureaucratic maze to fix a \"mapping failure\" before a strict deadline, they are quietly \"deleted\" from democracy. As economist Parakala Prabhakar pointed out in his critique, this mass deletion behaves like a \"bloodless political genocide,\" systematically wiping out the citizenship of vulnerable and marginalized groups who lack the resources to fight the upstream bureaucracy. When the opposition looks at the ongoing SIR in AP, they do not see a fair clean-up; they see an unlevel playing field. The political math is simple but devastating. On one hand, the state uses rigid automated filters to aggressively delete millions of regular voters downstream. On the other hand, the system fiercely defends the \"miracles\" that happen upstream, withholding public access to crucial verification data like token records and videography logs. By keeping the rules impossibly strict for the Lambs to get onto the voter list, while allowing the rules of physics to bend for the Wolf during the actual vote count, the machinery ensures that the house always wins. The current revision process does not erase the doubts left behind by the 2024 elections, it only furthers them, or it seems. As deadlines are extended and arbitrary hearings are scheduled, the common citizen is left trapped in a bureaucratic loop, screaming Sunny Deol's iconic words from Damini: “Tarikh par tarikh milti rahi hai... lekin insaaf nahi mila((Dates after dates have been given, but justice was never served!), proving that in the modern democratic stream, the Lamb is always wrong, and the Wolf is always thirsty."},"img":{"url":"https://images.prismic.io/prad/YKvJX6gngj-HeU7O_SIRAP.JPG?auto=format%2Ccompress&rect=0%2C22%2C1200%2C592&w=2028&h=1000"},"datetime":"2026-09-08T08:07:00+0000","embed":{"embed_url":null}},"uid":"sir-in-ap-the-wolf-upstream"}}]},"two":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"2 BRS MLCs Booked Over Remarks"},"content":{"text":"Police arrested BRS MLCs Tata Madhusudhan alias Madhu and N. Naveen Kumar Reddy on Tuesday for allegedly making derogatory and abusive remarks against Telangana Legislative Assembly Speaker Gaddam Prasad Kumar.  Madhu was arrested from his residence at the New MLA Quarters, while Naveen Kumar Reddy was taken into custody from his Kokapet residence. They had made the alleged remarks against the Speaker during a protest by the Bharat Rashtra Samithi (BRS) MLAs and MLCs at the Assembly entrance on Monday, when police had stopped them from entering the premises for wearing black T-shirts with slogans. The arrests followed a case registered against them on a complaint filed by Pollepalli Venkatesham, Officer on Special Duty (OSD) to the Assembly Speaker.  The complainant stated that the Speaker, who belongs to the Scheduled Caste (Madiga) community, was intentionally insulted, humiliated and demeaned in public view before journalists, electronic media crews, Assembly staff and security personnel. It was also alleged that the remarks were made with full knowledge of his social background and were aimed at lowering his personal and constitutional standing. Based on the complaint, Saifabad Police registered a case under Section 352 r/w 3(5) BNS and Sections 3(1)(r), 3(2)(va), 3(2)(vii) of the SC/ST (Prevention of Atrocities) Act. The alleged derogatory remarks had evoked widespread condemnation in the Assembly, with Chief Minister A. Revanth Reddy and ministers called for dismissing Madhu from the Legislative Council. Speaker Prasad Kumar had turned emotional when Minister Seethakka, while condemning the incident in the Assembly, said that she was hurt over the abusive remarks made against the Speaker's mother. Ministers had also demanded that a case under the Scheduled Castes and Scheduled Tribe (Prevention of Atrocities) Act be booked against Tata Madhu. The Bharatiya Janata Party (BJP), All India Majlis-e-Ittehadul Muslimeen (AIMIM) and Communist Party of India (CPI) also condemned the language used by the BRS MLCs against the Speaker. However, Tata Madhu had denied making any abusive or derogatory remarks against the Speaker. In a statement, the Member of Legislative Council asserted that the Congress leaders had attributed words to him that he never said. \"If the remarks I made are perceived as being directed at the Speaker, I withdraw those comments. I express regret for the same,\" he said. He alleged that BRS MLAs and MLCs were attacked when they were entering the legislature complex. The MLC said the police punched him repeatedly in the stomach. \"Despite being punched in the stomach, I did not say a word. Out of intolerance, they attributed words to me that I never uttered,\" he said."},"img":{"url":"https://images.prismic.io/prad/f1MEa0IOCsSHQytl_BRSMLCs.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-09-08T04:28:00+0000","embed":{"embed_url":null}},"uid":"2-brs-mlcs-booked-over-remarks"}}]},"three":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"Raajkamal Films Warns of Casting Fraud"},"content":{"text":"Legendary actor Kamal Haasan's production banner, Raajkamal Films International, issued a statement on Tuesday, alerting netizens to an ongoing casting fraud.  They informed that they have not hired any casting agents for any of their projects. The banner further urged all to not trust any emails, messages, and social media posts shared by any agent on their behalf. The statement published on the official X (Earlier known as Twitter) handle of the production banner read, \"This is to clarify that Raajkamal Films International has not hired any casting agents for any of our films. Please do not trust any emails, messages and social media posts received by you for this purpose (sic).\" The statement further warned that Raajkamal Films International will be forced to take legal action against anyone found using their names in an unauthorized manner.  \"Legal action will be taken if any party is found falsely using Raajkamal Films International name in any unauthorized manner. (sic),\" they added. Raajkamal Films International was founded by Kamal Haasan back in 1981 along with his brothers under the banner “Haasan Brothers,. However, later it was renamed as Raajkamal Films International.  The primary project made under the banner was the 1981 drama Raja Paarvai' , featuring Kamal Haasan in the lead. Some of their most noteworthy films include 'Apoorva Sagodharargal (1989)', 'Thevar Magan (1992)', 'Virumaandi (2004)', 'Vishwaroopam (2013)' and 'Vikram (2022)'. Up next, Raajkamal Films International is backing superstar Rajinikanth's highly anticipated drama 'Dharman'. Recently, the makers of director Ashwath Marimuthu's directorial shared that they have successfully completed the second schedule of the forthcoming movie. Raaj Kamal Films International and Kamal Haasan took to social media and shared the professional update via a post that read, \"Dharman 2nd Schedule Wrapped. Swag Mode: ON.\" The post further included a clip where Rajinikanth was seen as a senior medical faculty member lecturing junior doctors."},"img":{"url":"https://images.prismic.io/prad/yZ2cqcPVyn5hEiJB_rajkamal.JPG?auto=format,compress&rect=29,0,1042,514&w=2028&h=1000"},"datetime":"2026-09-08T10:40:00+0000","embed":{"embed_url":null}},"uid":"raajkamal-films-warns-of-casting-fraud"}}]},"four":{"edges":[{"node":{"data":{"third_party_url":null,"title":{"text":"PK: The Accidental Politician Of Amaravati?"},"content":{"text":"\"Charisma sustains a campaign; institutions demand a calendar. The tragedy of the charismatic leader is the belief that the passion which captures a crowd can substitute for the mundane, repetitive discipline of governance.\"— Benjamin Barber, Strong Democracy This quote simply means that star power can help a politician win an election, but it cannot help them run a country. Firing up a crowd with passionate speeches is completely different from the boring, repetitive, everyday hard work of managing a government. The tragedy occurs when a popular leader mistakenly believes that their personal charm can replace the real discipline, structure, and official responsibilities required to actually rule. Tsar Nicholas II of Russia stands as history's ultimate example of a leader completely crushed by the weight of absolute power. Upon his sudden ascension to the throne, he famously broke down in tears, admitting, \"I am not prepared to be a Tsar... I know nothing of the business of ruling.\" Lacking the backbone and decisiveness of his imposing father, Nicholas proved utterly incapable of managing a rapidly modernizing empire, consistently agreeing with whichever advisor spoke to him last. His profound passivity and paralyzing self-doubt transformed a position of supreme authority into a tragic vacuum of leadership, ultimately costing him his crown and ending the 300-year-old Romanov dynasty. Fast forward to the present-day, high-stakes theatre of Andhra Pradesh's political landscape, where discerning observers are rubbing their eyes to ensure they aren't witnessing a 21st-century Telugu remake of the Russian Tsar’s final act. In the emerging political discourse, Deputy Chief Minister Pawan Kalyan seems to be acting from the exact same script, effectively rebranding the state's second-highest office into a masterclass of political minimalism. As political scientists often note: \"Charm can win you an election, but running a government requires hard work and a strict schedule. The biggest mistake popular leaders make is thinking that the excitement that fires up a crowd can replace the boring, everyday discipline needed to actually rule.\" This simply means that star power can help a politician win an election, but it cannot help them run a country. Firing up a crowd with passionate speeches is completely different from the boring, repetitive, everyday hard work of managing a government. The tragedy occurs when a popular leader mistakenly believes that their personal charm can replace the real discipline, structure, and official responsibilities required to actually rule. Pawan Kalyan's “Passive Power Player Matrix” perfectly encapsulates a political trajectory defined by stark contradictions. It began with the promise of a roaring, decisive change-maker, only to rapidly devolve into a series of shape-shifting avatars that shifted awkwardly from a fierce Sanatana savior to a self-proclaimed \"not Chief Minister material.\" This philosophical retreat is perfectly mirrored in his erratic cabinet attendance, an exercise in executive aloofness that frequently borders on outright ghosting. To top it all off, a new political malady, cynically dubbed \"shoulder surgery,\" has left him physically and politically too weak to bear the literal burden of acting as a watchdog over the dominant TDP governance, an administration that is fast turning out to be a catalog of failures in the face of sky-high public expectations. The political trajectory of the Jana Sena chief reads less like a statesman’s rise and more like a collection of beautifully shot movie teasers that never culminate in a theatrical release. Governing, as it turns out, requires a mundane script that star power alone cannot rewrite. It demands the unglamorous discipline of marathon cabinet debates, navigating bureaucratic red tape, and rigorous legislative engagement, tasks that seem entirely incompatible with a leader who routinely goes aloof from institutional duties. When his highly publicized shoulder surgery triggered a wave of brutal social media memes ridiculing his inability to literally \"shoulder\" the burden of acting as a watchdog over the ever-losing credibility of the TDP governance, the medical excuse struggled to outrun the underlying political perception.  Whether sidelined by genuine medical advice or a strategic distaste for the administrative grind, the visual of a wounded warrior only amplified the image of a leader shrinking from the crushing weight of institutional power, while the administration he promised to check unravels under the weight of its own failures. Unsurprisingly, the TDP leadership appears to be all smiles and thoroughly unconcerned by their Deputy Chief Minister's selective aloofness or his deep medical rehabilitation. Far from triggering panic, this executive vacuum has been quietly welcomed by the yellow party's master strategists. The TDP high command has long been deeply wary of the BJP’s national leadership and its calculated designs to consolidate saffron politics in the state. By letting Pawan Kalyan remain sidelined, the TDP effectively short-circuits New Delhi’s grand plan of piggybacking on the movie star's massive shoulders to swallow the state’s political landscape at the cost of the TDP's own future. Meanwhile, a quiet storm of restlessness is brewing within the Jana Sena party cadre. The grassroots foot soldiers who once marched to the drumbeat of a \"system-shattering\" revolution now find themselves trapped in an ideological purgatory, wondering if they are supporting a rising alternative or just an elaborate political cameo. Frustrated by their leader's erratic shape-shifting avatars and mounting passivity, the cadre faces a bleak existential dilemma: they are realizing that a political future built entirely on the fleeting health and cinematic whims of a single celebrity provides absolutely no shield against a ruthlessly organized ally. The ultimate tragedy for any aspiring independent political force is the realization that emotions do not build organizations. Pawan Kalyan’s career has thrived on pure personal credibility and an almost spiritual, celluloid connection with his base. But as the Tsar learned the hard way, supreme authority cannot be wielded via remote control or casual cameos. If the Deputy Chief Minister continues to treat governance as a voluntary guest appearance rather than a full-time institutional commitment, his dreams of ever standing as a decisive, independent alternative in Andhra Pradesh will remain forever trapped in the realm of cinematic fiction. For the disillusioned Jana Sena cadre and the discerning voters of Andhra Pradesh, who bought into the fiery rhetoric of a system-shattering watchdog, this profound passivity brings to mind the poignant lines of the legendary Urdu poet Daagh Dehlvi: “Ghazab kiya tere waade pe aitbaar kiya, tamaam raat milaaye sahar intezaar kiya” (What a disaster it was to rely on your grand promises; I spent the entire night waiting, only to be left staring at a blank dawn). If the Deputy Chief Minister continues to treat governance as a voluntary guest appearance while his allies outmaneuver him and the administration unravels, he risks leaving his followers permanently stranded in that very dawn—waiting for a decisive leader who chose to remain a beautiful, unfulfilled promise."},"img":{"url":"https://images.prismic.io/prad/ajea3I1P9HI4UxBN_pk.JPG?auto=format%2Ccompress&rect=0%2C2%2C2020%2C996&w=2028&h=1000"},"datetime":"2026-09-07T07:30:00+0000","embed":{"embed_url":null}},"uid":"pk-the-accidental-politician-of-amaravati"}}]},"five":{"edges":[]},"review":{"edges":[{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Toxic'"},"content":{"text":"After delivering the massive success of KGF, Yash took considerable time before announcing his next project. He reportedly heard several scripts and met numerous filmmakers before finally joining hands with Geetu Mohandas for Toxic: A Fairy Tale for Grown-Ups. The collaboration itself raised eyebrows, with many wondering how Mohandas’ filmmaking sensibilities would blend with Yash’s larger-than-life action image. The result is an ambitious gangster action drama that aims for the scale and intensity of KGF, but struggles to match its emotional impact. Story: Set against the backdrop of Goa in 1947, the film revolves around a powerful drug and underworld network led by Salvador, a feared gang lord. Raya (Yash) and Ganga (Nayanthara), who are siblings, are among his most trusted associates. Ganga dreams of seeing her younger brother rise to the top of Goa’s drug empire. Raya’s life takes an unexpected turn when he falls in love with Salvador’s daughter, Rebecca (Tara Sutaria), and marries her. This eventually helps him become the head of the drug syndicate, fulfilling Ganga’s long-standing ambition. However, Raya later develops feelings for Nadia (Kiara Advani), a circus performer. Their relationship leads to Nadia’s pregnancy and creates a devastating conflict after Rebecca discovers the affair. Overcome by the situation, Rebecca takes her own life. The central conflict then revolves around Salvador’s reaction and Ganga’s desperate attempts to protect her brother from his wrath. Performances: Yash delivers a convincing performance as Raya and carries much of the film on his shoulders. However, the screenplay is so heavily centred on his character that several supporting roles fail to make a lasting impact. Some of his action sequences also feel exaggerated, with the hero overpowering villains almost effortlessly. While his emotional moments work reasonably well, the action lacks the grounded quality needed to make the violence feel convincing. Nayanthara gets a powerful character as Ganga, but the writing does not provide her with enough substantial scenes. She makes an impression whenever she appears, despite having limited material. Kiara Advani, unfortunately, has little scope to demonstrate her acting abilities, with her character largely confined to glamour and romance. Tara Sutaria fares better, delivering a natural performance in several emotional sequences. The remaining cast members are adequate within the limitations of their respective roles. Technical: Geetu Mohandas deserves credit for attempting a dark and ambitious gangster drama, but the execution falls short of the potential of the premise. The screenplay repeatedly relies on elaborate action sequences, seemingly assuming that Yash’s screen presence and large-scale set pieces alone will sustain the film. Considerably more attention is given to the protagonist than to the development of the supporting characters. The dubbing is another noticeable weakness, occasionally giving the film the feel of a dubbed production rather than a seamless multilingual project. The cinematography is impressive and succeeds in creating the required visual scale. However, the background score does not leave a strong impact. Ravi Basrur’s music fails to live up to expectations, while the songs struggle to connect because of their placement within the romantic portions. Editing is one of the film’s major drawbacks, particularly in the second half, where several sequences feel unnecessarily stretched. The production values, however, remain impressive and contribute to the film’s grand visual presentation. Analysis: The biggest challenge for Toxic was always going to be the enormous expectations surrounding Yash after KGF. Audiences naturally expected another high-octane action spectacle, and the film clearly attempts to recreate that larger-than-life formula. But KGF worked not merely because of its action; its emotional core gave the spectacle considerable weight. Toxic struggles in that department. The film repeatedly prioritises action, violence and glamour while failing to build sufficiently strong emotional connections with its characters. The result is a movie that looks ambitious but often feels emotionally hollow. The excessive romantic and adult-oriented content may also alienate a significant section of family audiences. Instead of complementing the gangster narrative, several such sequences feel unnecessarily provocative and distract from the core story. The film appears determined to push its mature tone, but the approach does not always feel organic to the narrative. Ultimately, Toxic showcases Yash’s immense screen presence and delivers a few visually striking action sequences, but it falls short of replicating the emotional resonance that made KGF such a phenomenon. The attempt to create another massive Yash action vehicle is evident, yet the absence of a compelling emotional backbone prevents the film from reaching its full potential. Plus Points: Yash’s performance Tara Sutaria’s natural acting A few well-executed action sequences Grand production values Impressive cinematography Minus Points: Weak story and screenplay Limited depth for supporting characters Excessive romance and adult content Over-the-top action in places Underwhelming music and background score Slow and stretched second half Dubbing issues Verdict: Toxic sets out to deliver another KGF-style action extravaganza but misses the emotional ingredient that made Yash’s previous blockbuster so effective. Despite its scale, star power and flashes of impressive action, the film struggles to create a satisfying overall impact. Final Take: Another KGF was attempted, but the emotion is missing. Banner: KVN Productions Producer: Venkat K. Narayana Director: Geethu Mohandas Music: Ravi Basrur Cast: Yash, Kiara Advani, Nayanthara, Huma Qureshi, Tara Sutaria, Rukmini Vasanth, Sudev and others"},"img":{"url":"https://images.prismic.io/prad/E2UJr6qTDfzc_kvt_TOXIC.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-08-26T07:45:00+0000","embed":{"embed_url":null}},"uid":"review-toxic"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Irumudi'"},"content":{"text":"It has been a long time since Mass Maharaja Ravi Teja scored a hit. At a time when his fans were also giving up hope on Ravi Teja, expectations have increased hugely on the film directed by Shiva Nirvana, who is known as a sensible director. A positive buzz has been created for Ravi Teja's film like never before and huge advance bookings have been registered. Let's see how this film is in this review. Story: Trinath (Ravi Teja) is a devotee of Ayyappa. He wears an Ayyappa garland every year. Trinath, who is very devoted when he wears a garland, cannot stop drinking when he does not have one. No matter how much he drinks, he takes good care of his wife Kaveri (Priya Bhavani Shankar) and daughter Manikantha (Baby Nakshatra), leads a happy life with them, and works in the banana plantation. Trinath, who lives in a village, loves his daughter. He takes care of every girl in the village and is the first to come to his aid if any danger comes to them. At such a time, a girl studying in high school is murdered. What changes does Trinath's life bring about with that murder? Why does Trinath swear to his daughter that he will stop drinking? What else does Trinath do for his daughter is the story of the film. Actors' Performance: Everyone who acted in the film acted very well. Ravi Teja, as always, acted with full energy and impressed. Especially in the action scenes and sentimental scenes with his daughter, Ravi Teja acted very well. Ravi Teja appeared for the first time in Ayyappa Mala. As expected, Ravi Teja impressed in the devotional scenes as well. Overall, he carried the film on his shoulders and carried it forward, impressing everyone including the fans. Heroine Priya Bhavani Shankar acted as if she had a good future. She was seen in a de-glamor look in this film. Still, she impressed in terms of looks. Apart from that, she impressed with her acting. In recent times, we have been seeing the level of importance given to the acting of heroines. It has been proven once again that heroines will create dust if they get roles that have potential for acting. There is no doubt that Baby Nakshatra has given life to the film. Ajay Ghosh and Sai Kumar impressed with their roles. Technical: Music director GV Prakash Kumar impressed with the background score. The theater was rocked by the song Mallepula Pallaki. However, it must be said that the credit does not go to GV Prakash. The other songs are mediocre. The more GV lifts the film with the background score, the more it lifts it. Director Shiva Nirvana's writing is good. Some dialogues are touching, while some scenes are like the best of Ravi Teja's career. Overall, the director has succeeded in all respects. There are no major mistakes in editing. It would have been even better if some scenes in the second half had been cut to three or four minutes. The cinematography is good. The beauty of the village has been shown well. There is no compromise in the structural values. Analysis: Director Shiva Nirvana has conveyed the point he wanted to convey with devotion and sentiments. The director has shown the injustice being done to girls in the current society well. Apart from that, there is no doubt that he has made a good decision in choosing Ravi Teja for this film and taking Ayyappa Mala as the backdrop. Ravi Teja has never done such roles in the past. That is why there is a concern about how he will be seen in this film, how the character will be, and how the film will be. After watching the film, it feels like we are seeing Trinath instead of Ravi Teja. The director has taken us into the film in a very short time. This film can be called a movie with good sentiment and devotion along with entertainment. Ravi Teja's films have been criticized for a long time in the industry. There is no doubt that this film is the answer to all of them. It went like an all-round movie. Plus points: Ravi Teja, Other Actors' Performances, Mallepula Pallaki Song, Action Sequences Minus points: Some Emotional Scenes Final Verdict:  Ravi Teja tied 'Irumudi' to Ayyappa and scored a hit Banner: Mythri Movie Makers Producer: Naveen Yerneni, Y Ravi Shankar Director: Shiva Nirvana Music: G.V. Prakash Kumar Cast: Ravi Teja, Priya Bhavani Shankar, Sai Kumar, Baby Nakshatra, Ajay Ghosh and others"},"img":{"url":"https://images.prismic.io/prad/HcTr2KkaiWO37ssK_irumudi.jpg?auto=format,compress"},"datetime":"2026-08-21T08:18:00+0000","embed":{"embed_url":null}},"uid":"review-irumudi"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Awarapan 2'"},"content":{"text":"Some characters become so closely associated with an actor that bringing them back after nearly two decades is a risky proposition. Shivam Pandit is one such character for Emraan Hashmi. Awarapan 2 takes that risk and, for the most part, understands why the 2007 film became a cult favourite. Directed by Nitin Kakkar, the film picks up the emotional thread of the original rather than simply recreating it. Shivam is still carrying the memory of Aaliyah when he comes across an abandoned infant girl at her grave. He takes her to an orphanage, quietly pays for her care and names her Aaliyah. When a couple later adopts the girl, Shivam convinces himself that giving her a family is the right thing to do. He soon discovers that they are connected to an international child-trafficking syndicate, and when Interpol tells him that Aaliyah has been abducted, the man who had walked away from the criminal world has no choice but to return. That premise gives Awarapan 2 a natural reason to bring Shivam back rather than forcing a reunion for nostalgia's sake. Interpol wants his help in taking down the syndicate, but Shivam's motivation is much more personal. His guilt over Aaliyah and his inability to protect her pull him back into the world he desperately wanted to leave behind. This is where the sequel expands the franchise. The first Awarapan was raw, intimate and deeply rooted in Shivam's personal transformation. The new film moves from that compact moral awakening into a larger crime thriller involving trafficking, organised crime, revenge and sacrifice. The scale is bigger, the action is more prominent and the storytelling is designed for a theatrical audience, but the emotional core remains Shivam's search for redemption. The narrative has moved from 2007 to 2026, and this genuinely feels like the next chapter rather than a film simply borrowing the name of a beloved original. A major part of that evolution comes from Vishesh Bhatt. As the co-producer of Awarapan and now the writer-producer behind Awarapan 2, Bhatt's vision of turning Awarapan into a franchise is central to the film. This isn't just a sequel made because the first film developed a cult following. There is a clear attempt to build the next chapter of Shivam Pandit's story while retaining the emotional and musical DNA of Vishesh Films. Bhatt's creative direction gives the film its larger ambition, with Kakkar and the entire team following that lead. The collaboration between Emraan Hashmi and Vishesh Films remains one of the film's strongest forces. Emraan, unsurprisingly, is the film's biggest strength, but the supporting characters deserve attention. Disha Patani plays Zara, a woman who becomes an unintentional victim of the criminal world surrounding her family. Her brother Zorawar, played by Puran Gabbi, is involved in the drug trade, and the film uses their relationship to show how crime can trap people who never chose that life. Patani gets a stronger dramatic focus and brings a vulnerability that gives Zara's portions emotional weight. Gabbi is one of the film's discoveries, bringing an unpredictability that makes Zorawar stand out without turning him into a standard gangster caricature. Shabana Azmi as Nafisa brings the expected gravitas, while Suvinder Vicky as Jaideep, Vijayant Kohli as Mehmood, Atul Kumar as Samarth and Aniruddh Rawal as Sikandar add further layers to the criminal and investigative world around Shivam. The music is where Awarapan 2 makes perhaps its most important connection with the original. Mithoon, Amaal Mallik and Jeet Gannguli carry forward the musical identity of the franchise, with lyrics by Sayeed Quadri and Rashmi Virag. The returning favourites \"Tera Mera Rishta\" and \"Toh Phir Aao\" have been reimagined by Mithoon, while \"Yeh Awarapan\", sung by Arijit Singh, adds another emotional layer. But the soundtrack is not simply a collection of songs designed to trigger nostalgia. The music is integral to the story. It carries Shivam's emotional state, builds the atmosphere and becomes part of the film's narrative language. This is also a soundtrack that deserves to be experienced in a theatre, where the sound design, scale of the compositions and visuals create a different audio-visual experience. The film also makes its marketing campaign look smarter once the story unfolds. Some of what has been shown and teased begins to make sense only after watching it, and there are elements of the narrative better experienced without knowing too much beforehand. Awarapan 2 is not merely selling the return of Emraan Hashmi or the nostalgia of its music. It is attempting to make audiences curious about what happened to Shivam and where his story goes next. The big-screen presentation adds to that appeal. Awarapan 2 succeeds because it respects where the franchise came from without pretending that cinema hasn't changed since 2007. It is bigger, more ambitious and more conventional as a thriller than the original, but it retains the grief, rage, sacrifice and search for redemption that made Shivam Pandit memorable. Vishesh Bhatt's franchise vision, Vishesh Films' creative identity, Nitin Kakkar's direction, Bilal Siddiqui's writing and Emraan Hashmi's return all work toward the same goal: taking Shivam's story forward rather than simply repeating it. Disha Patani gets a meaningful role, Puran Gabbi emerges as a genuine discovery, the supporting cast adds weight and the music remains an essential part of the experience. It may not have the same bleak intimacy as Awarapan, but that isn't what this film is trying to be. This is the 2026 chapter of Shivam Pandit's journey much bigger, louder and still carrying the same old wound. Director: Nitin Kakkar,  Cast: Emraan Hashmi, Disha Patani, Shabana Azmi, Puran Gabbi, Suvinder Vicky and others"},"img":{"url":"https://images.prismic.io/prad/nH0_7NckLLpkJ8vL_awarapan2.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-08-14T04:07:00+0000","embed":{"embed_url":null}},"uid":"review-awarapan-2"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Vishwanath and Sons'"},"content":{"text":"Despite being a Tamil hero, Surya is a hero who has a good craze in Telugu. Telugu audiences have raised their expectations as soon as he says that he is working with a Telugu director. The film Surya, which was made in a Telugu production company and directed by a Telugu director, was promoted as a Telugu film. Let's see how this film, which has huge expectations among the audience, is doing in this review. Story: Sanjay Vishwanath (Surya) is a big businessman. Sanjay, who has everything, is not interested in marriage. But his mother (Radhika) insists on marriage and having a family. Sanjay becomes a father to a baby boy through surrogacy for his mother. While he is happy with Babu, unexpected developments take place. Babu develops serious health problems. Babu needs bone marrow. Then Sanjay goes to Maddy (Mamita Baiju), who is in the US. She has to give the bone marrow to Babu. 22-year-old Maddy, who came for Babu, falls in love with 42-year-old Sanjay. Where did that love lead? Who is Maddy really? You have to watch the movie to know these things. Performance: There is no need to mention the performance of the hero Surya. Millionaire Sanjay Vishwanath impressed in the role. Surya scored 100 out of 100 marks in showing that modesty. Surya impressed in a role that shows love while appearing serious in some scenes. Overall, there is no doubt that Sanjay Vishwanath brought the character to life. Fans enjoyed the shades of Surya's character. Surya impressed with his 40+ age look. Maddy's role is very crucial in the movie. The entire first half is based on that character. Mamita Baiju appeared in the role of an orphan with no one. Generally, any heroine would look good in the role of a naughty girl. But Mamita in the role of Maddy made me laugh, cry, and get angry. She was the main attraction of the film. It seemed that Maddy's role would have been better in the second half as well. Radhika impressed in the role of Sanjay's mother. She seemed to have transformed into a small child and acted. The other actors acted and impressed within the scope of their roles. Technical: It seemed that the music director focused more on the background score than on the songs. It must be said that his hard work was rewarded. Because the background score came out well. It led some scenes in an impressive way. Let's talk about cinematography. Generally, it is easy to show the beauty of the village, but to bring a rich family look, cinematography has more work. That work is good. It would have been better if the director had worked more on the second half. The structural values ​​are good. Editing needs to be improved in the second half. Plus points: Mamita Baiju Surya Entertainment Some sentimental scenes Minus points: Second half Fights Analysis: Director Venky seems to have come up with a mature story once again. However, this time, the addition of a love story made it a youthful entertainer. Especially in the first half, the scenes with the heroine should definitely make the audience fall in love. The scenes between the hero and heroine make you laugh on one side and cry on the other. Although the second half seemed to be a bit sentimental, it ended on a positive note. There is no doubt that if the first half was as entertaining as the second half, it would have been even better if it had been more entertaining along with sentiment. Overall, this film can be watched for the heroine Mamita Baiju and for the sentimental scenes. Finally... The first half is fun, the second half is balanced with emotion. Banner: Sitara Entertainments Producer: Suryadevara Nagavamsi Director: Venky Atluri Music: G.V. Prakash Kumar Cast: Surya, Mamita Baiju, Radhika Sarath Kumar, Raveena Tandon, Nassar, Sudha and others"},"img":{"url":"https://images.prismic.io/prad/ahgA9bK9tuLqENie_vishwanathandsons.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-08-14T07:46:00+0000","embed":{"embed_url":null}},"uid":"review-vishwanath-and-sons"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Korean Kanakaraju'"},"content":{"text":"Mega hero Varun Tej, who has been greeting the audience with a series of films, has once again come to the Telugu audience with a different concept. This time, he has come to the audience with a Korean ghost concept like never before. He has attracted everyone's attention by coming to the audience with a ghost concept.  A large-scale publicity program was organized before the release. With that, a huge buzz was created. Let's see if the movie lives up to that buzz in the review. Story: Kanakaraju (Varun Tej) from Penukonda area leads a smooth life. He falls in love with Chaitra (Rithika), who works for Kia car companies. An angry Kanakaraju has a fight with a local rowdy gang. At that time, in the wake of unforeseen developments, the ashes of a person from Korea arrive in India. They reach Penugonda. The soul of the deceased Korean man enters Kanakaraju's body. Why did that soul enter Kanakaraju's body and what happens next is the rest of the story. Actors' performance: Varun Tej seems to have done 100 percent justice to the character of Kanakaraju. There is no doubt that he acted as if the angry Kanakaraju was really in front of us, and there is no doubt that the way he spoke in Korean when the Korean soul entered him took Varun's acting to another level. Varun, who maintained a good physique to match the character, also impressed with his comedy timing. It is no exaggeration to say that Varun has never done this level of comedy before. Varun impressed with his acting in the action scenes, but he could not do much with his dance. Heroine Rithika impressed with her cute looks. However, despite the importance of her role in the story, she did not get much opportunity to appear in the screenplay. The scenes with Satya were good, but Satya's dominance is clearly visible in it. Rithika impressed in two or three scenes along with her cute beauty display.  Comedian Satya appeared on the screen more than the second hero. At the same time, he impressed with his comedy. Overall, Satya's comedy was the main attraction in the film. Those who played the rest of the characters did not seem to care. Technical: The songs provided by music director Thaman seemed mediocre, but the background score was good here and there. Thaman impressed in some horror scenes. Overall, it must be said that Thaman's work is not up to his level. It would have been better if the songs were two or three good. The cinematography seems to be okay. It seemed like the focus on action scenes was reduced in order to show Korean beauties. The heroine was shown as cute. More care should have been taken in the matter of hero elevation. It would have been better if director Gandhi had rewritten the story and given a different treatment to the screenplay. The production values ​​are good. There is a possibility of trimming some of the second-off scenes. Analysis: The main attraction of the movie is the concept. It seems that director Gandhi has not been completely successful in carrying out that concept with a proper screenplay. However, he has brought the movie to a close with comedy. It is commendable that the director has chosen Satya for that role with full faith. The comedy has the potential to make the movie closer to the family audience. Since there have been no movies with the concept of a Korean ghost movie so far, this movie is sure to feel new. Director Gandhi has a reputation for making different movies.. This movie is a continuation of that. Varun Tej has fully fulfilled the responsibility assigned to him. It would have been better if he had thought better about the screenplay and worked out the horror scenes. The graphics seem poor. It seems like it was made using AI technology. Plus points: Concept, Hero heroine, True comedy Minus points: Routine horror, Graphics, Korean language. Finally... A routine horror drama that will please mega fans Banner: UV Creations Director: Merlapaka Gandhi Producer: Vamsi, Pramod Music: Thaman Cast: Varun Tej, Rithika Nayak, Satya and others"},"img":{"url":"https://images.prismic.io/prad/Ui6FbufwpUs86SxR_KoreanKanakaraju.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-08-07T06:59:00+0000","embed":{"embed_url":null}},"uid":"review-korean-kanakaraju"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Chennai Love Story'"},"content":{"text":"Small films are having a good time in Tollywood. The makers have been repeatedly saying that they are bringing this film to the audience as a content-oriented film, in the wake of the huge success of making content-oriented films. The makers who gave a super hit film like Baby have brought this film to the audience. Let's see how this film, which was released today, is like in the review. Story: Niv (Sri Gauri), who wanted to fall in love and get married, is unexpectedly cheated by her boyfriend Ajay (Trigun). He leaves her by saying that he loves another girl before the wedding. With that, Nivi turns into a lady Devadasu and becomes addicted to drinking. At that time, her friends take her to Chennai and try to change her a little. But her behavior does not change. That's when Steven Shankar (Kiran Abbavaram) steps into Chennai to show his mettle as a director. Friends help Shankar, an orphan, and allow him to stay in their room. The room is close to Nivi. At first, Shankar's words used to irritate Nivi. Slowly, she gets closer to him. Love blossoms between the two. But amidst unpredictable developments, their love runs into a problem. What is that problem and will the two meet again is the plot. Acting: Kiran Abbavaram impressed with his good acting, like in the past, he impressed with his looks as if he was the boy next door. Playing the role of an innocent person is not an easy thing. But Kiran Abbavaram played the role very easily. Kiran Abbavaram showed well in this role what an innocent person who steps into Chennai with an effort to impress the director would be like. There is no doubt that this heroine Gowry Priya  is the most crucial role in the story. She has done complete justice to her role. Siri Hanumanthu has once again impressed with her acting in a good role. She is likely to get more good roles in the future. Those who played other roles impressed within the scope of their roles. Technical: When the director thought that the story was being handled well, he tried to say something new by saying Atma Paramatma in the second half. It must be said that it failed. In terms of screenplay, the second half failed. The music was impressive, especially the background score was impressive. Manisharma once again showed his magic. Cinematography is good. There is no doubt that cinematography has definitely been useful in showing the beauty of Chennai. The dialogues are good. There are some flaws in the editing, and there is still work to be done in the second half. The structural values ​​are according to the story. Plus points: Hero, heroine acting, Manisharma's background score First off Minus points: Second half, Routine screenplay. Analysis: Producer Sai Rajesh has been making comments in several media conferences and interviews that this film is definitely a baby range cult love story, but it doesn't seem like it has any scenes. While you think that the first half of the film will be smooth and interesting, he made the second half boring by adding unnecessary elements. If the same love story had been continued simply, the second half would definitely have been a good talk. Hero Kiran Abbavaram impressed with his good performance. The audience will definitely appreciate him, and heroine Gauri also did full justice to her role. Gauri impressed in the role of a drunkard and Lady Devadasu, but it must be said that the screen did not match their performance. Overall, Chennai Love Story turned out to be an average love story. Finally... It makes feel like going all the way to Chennai for this love story Banner: Mass Movie Makers Producer: SKN, Sai Rajesh Director: Ravi Namburu Music: Mani Sharma Cast: Kiran Abbavaram, Gowri Priya, Siri and others"},"img":{"url":"https://images.prismic.io/prad/0yN9tZHPaAuq2hyg_CLS.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-07-24T08:01:00+0000","embed":{"embed_url":null}},"uid":"review-chennai-love-story"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Jana Nayakudu' "},"content":{"text":"Expectations have increased among all sections of the audience on the film Jana Nayaku, which was advertised as the last film of Tamil superstar Vijay. Although it was not officially announced that it is a remake of the film Bhagwant Kesari, which came in the combo of Balakrishna and Anil Ravipudi, the makers have been unofficially saying it.  This film, which was delayed a lot due to Tamil Nadu politics, made a royal entry without any problems as Vijay became the CM of Tamil Nadu. And how is this film? Will the audience like this story again in Telugu? Let's see in this review. Story: Vetri Kondan's (Vijay) mother dies in jail. Out of humanity, the jailer releases Vetri Kondan on parole and sends him out to see his mother for the last time. When Vetri is sent out, the jailer gets into a big problem. Vetri Kondan learns that the jailer who helped him is in trouble, and goes to his house. In the wake of unexpected developments, the jailer dies. His only daughter, Viji (Mamita Baiju), becomes an orphan.  The jailer who helped him looks after his daughter and wants to make her an army officer. But Viji says she will not join the army out of fear. Why does Vetri want to send Viji to the army? Will Viji finally join the army? What difficulties will Vetri face in doing so? This is the story. Performance: There is no need to mention anything special about Superstar Vijay's performance. Just as Balakrishna adapted to the role in Bhagwant Kesari, there is no doubt that Vijay also adapted to the role of Vetri. The screenplay was such that the entire story of the film was carried on his shoulders. Even so, Vijay acted well in every scene without giving up. There is no doubt that he impressed with his comedy timing. His fans will enjoy the action scenes to the fullest. Now that he is the CM, he has tried to show Vijay in that angle as well, which is a feast for the eyes of the fans. Since this is Vijay's last film, it seems that he gave his best. Pooja Hegde, who played the heroine, does not have much screen presence. It must be said that Pooja Hegde's screen presence is less than what Kajal Aggarwal's role was in the original Telugu version. Mamita Baiju played the role of Viji, played by Srileela in Telugu and got good marks. It seemed that Mamita did Viji's role even better than Srileela. Along with impressive looks, the two heroines gave good expressions to suit their roles. However, Pooja Hegde's role did not get priority. Mamita impressed as much as she did. Bobby Deol impressed in terms of looks. It would have been better if he had been shown as a stronger and better villain. Since the villain role was not given priority in the story, Bobby Deol's performance became like water poured on ashes. Technical: Director H Vinod tried to make the Telugu story as it is and add Tamil flavor to the screenplay. He made the story without making many changes in the first half. However, when it came to the second half, he made many changes. The entire screenplay changed as if it was a new story. Vijay's character also left the audience in a bit of a quandary. There is nothing much to say about the music. Anirudh, as usual, gave a good background score to Vijay's film. But since the songs did not have much scope, Anirudh's work did not come out much.  The cinematography is good. The cinematography is definitely good in elevating the action scenes. There are errors in the editing. Some scenes in the second half, especially the villain scenes, could have been trimmed. It would have been better if the heroine scenes that are not part of the story were also trimmed a bit. The production values ​​are good. The story was produced with added weight without detracting from it. Plus points: Vijay, Some Action Scenes, Mamita Baiju Minus points: Story, screenplay, Being a familiar story, Second half, Villain role. Analysis: The film Jana Nayakkudu, which was supposed to be released early this year, did not see its release due to censor problems due to Tamil Nadu politics. Officials said that permission could not be given for the release of the film in the wake of the assembly elections. With Vijay becoming the CM, the film Jana Nayakkudu came plowing ahead without any problems and shook the Tamil box office. This movie has been seen in Telugu before. Even though it is known that this is a remake of Balakrishna Bhagwant Kesari, many enthusiasts booked in advance and watched the movie. The movie got a good opening in Telugu states.  It is undeniable that Jana Nayakkudu could not satisfy the Telugu audience completely. Tamil audience will think aha.. oh my for Vijay Elevations. Moreover, they will like it because it is a new story, but Telugu people do not have much to like about this movie, even though the second half seems to have changed a bit, it felt like it was forced. The political elements were not set in the story at all. There is action but no emotion. The magic is missing in the screenplay. Overall, Jana Nayakkudu does not have anything new that the Telugu audience will like much. Finally... A Tamil mass leader who cannot please Telugu people. Banner: KVN Productions Producer: Venkat K. Narayan Director: H Vinod Music: Anirudh Cast: Vijay, Pooja Hegde, Mamita Baiju, Sunil, Bobby Deol and others"},"img":{"url":"https://images.prismic.io/prad/8WXmx3hoavnPTLpj_jananayakudu.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-07-23T08:18:00+0000","embed":{"embed_url":null}},"uid":"review-jana-nayakudu-"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Dhamaal 4'"},"content":{"text":"STORY: Over the years, the Dhamaal franchise has carved out a unique, bulletproof space in Bollywood, one built entirely on unapologetic, leave-your-brain-at-home comedy. Director Indra Kumar returns to this signature comfort zone scaling up the adventure with itns fourth installment. This time, the chaos revolves around a massive 100-year-old hidden treasure belonging to the legendary Shaitaan Singh. The key to its location is locked away in the faulty memory of Prithvi (Upendra Limaye). When the secret slips out, it triggers a wild, breathless race to a mysterious island marked by a giant \"M.\" Every character is out to outsmart the other to reach the khazana first, paving the way for endless confusion, wrong clues, and frantic chases. SITUATIONAL COMEDY: Chaos at Its Peak What makes Dhamaal 4 work so effectively is its reliance on situational comedy. The film throws a massive ensemble of eccentric, greedy, and hilariously unlucky individuals into bizarre environments, from wild jungle disasters to unexpected pirate encounters. The script doesn’t ask you to look for logic; instead, it invites you to surrender to the sheer ridiculousness of the situations. The first half is exceptionally fast-paced, packed with clever nods to older films in the franchise that will keep longtime fans chuckling. ENSEMBLE PERFORMANCES: The Ultimate Laughter Brigade The true strength of the film lies in its stellar ensemble cast, where Ajay Devgn leads the pack with absolute swagger alongside Sanjay Mishra, whose iconic comic timing results in sharp laugh-out-loud moments. The heartbeat of the franchise, Arshad Warsi and Jaaved Jaaferi, return with their signature electric chemistry, beautifully joined by Sanjeeda Shaikh who adds great charm to their chaotic dynamic. Riteish Deshmukh delivers a thoroughly entertaining performance with his desi flavor alongside Anjali Anand, who plays his wife Paro with a hilarious domestic touch. Stealing scenes effortlessly, Ravi Kishan brings a fresh wave of comedy as the quirky pirate leader Adhoora. Finally, Upendra Limaye is fantastic as the main catalyst of the plot with his high-energy performance, while Esha Gupta brings a wonderful charm and flair to the screen. DIRECTION, SCREENPLAY, AND MUSIC Indra Kumar proves yet again that he is a master at delivering high-energy situational comedies. The engaging screenplay keeps the audience hooked with a constant stream of rapid-fire jokes and entertaining jungle and island survival sequences. On the technical side, the massive scale of the film looks stunning on the big screen, making it a true theatrical spectacle. The music seamlessly fits this energetic narrative, with tracks like Chatni and Qeher keeping the mood light, and celebratory throughout. THE VERDICT: The Perfect Family Entertainer Dhamaal 4 is a fun-filled joyride that is tailor-made for the big screen. It effortlessly delivers on its promise of pure, non-stop entertainment from start to finish. It stands out as an excellent, wholesome entertainer that will easily appeal to all age groups, from grandparents to little kids, who will absolutely love the comedy and thrilling pirate adventures. If you are looking to share a hearty laugh with your entire family this weekend, Dhamaal 4 is a highly recommended watch! Director: Indra Kumar Cast: Ajay Devgn, Arshd Warsi, Riteish Deshmukh, Jaaved Jaaferi, Sanjay Mishra, Ravi Kishan, Upendra Limaye, Anjali Anand, Esha Gupta and Sanjeeda Shaikh"},"img":{"url":"https://images.prismic.io/prad/51qvs_NXLgg3Shrm_dhamaal3.JPG?auto=format,compress"},"datetime":"2026-07-10T04:00:00+0000","embed":{"embed_url":null}},"uid":"review-dhamaal-4"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Lenin'"},"content":{"text":"Years have passed since Akhil made his debut as a hero from the Akkineni family, yet he has not managed to achieve commercial success. Consequently, fans' confidence in him has been waning. At this juncture, Akhil has worked hard on the movie 'Lenin' with great hope. Let us see how the movie fares in this review. Story: The story unfolds in a remote village in Andhra Pradesh. Lenin (Akhil) arrives as an orphan in a village named Sriramapuram. A woman, who is the village head, takes him under her wing and raises him just like her own son. Her son, Vasanth, and Lenin become best friends. While Vasanth pursues his studies and becomes a doctor, Lenin stays back in the village and becomes an integral part of everyone's lives. It has become a tradition for the village's prestigious 18-day festival to be conducted under Lenin's supervision every year. During one such festival, Lenin sees Bharati (Bhagyashree) and falls in love with her. This romance marks a turning point in the entire story. Due to unforeseen circumstances, Vasanth is compelled to marry Bharathi. Meanwhile, Lenin ends up in prison. The story revolves around why Lenin went to jail and whether Vasanth actually marries Bharathi. Performances: As has been noted from the start, it is evident on screen that Akhil has put in a great deal of effort for this film. There is no doubt that this is a distinctively different role compared to the characters he has played previously. Furthermore, he successfully molded himself to fit the character, displaying impressive range and variations in his acting. He also adopted a fresh style of dialogue delivery for this movie. Visually, he is impressive, and in the action sequences, he comes across as a high-voltage action hero; he delivers exactly what fans desire. Beyond the action, he also impresses in the romantic scenes. The heroine, Bhagyashree, charms the audience with her beauty—something she has done in several previous films. However, in this movie, she also impresses with her acting prowess where the script demands it. She certainly leaves a mark on the role assigned to her, though one cannot help but feel that her character could have been written with more depth.  The supporting cast also delivers impressive performances within the scope of their roles; Eswari Rao, Pramod, and Brahmaji, in particular, stand out with their acting.  Technical: The director needed to work a bit more on the story, though he did try to make an impact with the screenplay. He succeeded in engaging the audience during the opening 10–15 minutes, effectively building suspense and sparking curiosity about what would unfold next. However, the dialogues could have been sharper. Thaman delivered a decent musical score, as always; however, there were certain scenes where one felt he could have done more with the background music. The cinematography is impressive—crucial for a film set against a village backdrop. There are minor flaws in the editing, but the production values ​​are good. Plus points: Akhil Akkineni, Jathara (fair) scenes The plot twist Minus points: Some dragged-out scenes Background score Story and screenplay Analysis: There is no doubt that the film lived up to the high expectations of Akkineni fans. However, it remains to be seen how well the general audience will receive it. Akhil had stated from the beginning that he worked very hard for this film, and that effort is clearly visible on screen. The director aimed to present something fresh;...yet, the film would have been even better with more work on the story and a tighter screenplay. It must be noted that there was a lack of sufficient commercial elements to appeal to all sections of the audience, not just the fans. The music also felt a bit underwhelming. Akhil fulfilled his role with 100% commitment; however, the director failed to craft a strong screenplay for the supporting characters, leaving them with little scope to showcase their true acting potential. Overall, this village-based drama manages to engage the audience and appeals to fans. Final verdict: Akhil Akkineni impresses the fans Banner: Sithara Entertainments, Manam Enterprises Producers: Suryadevara Naga Vamsi, Akkineni Nagarjuna Director: Murali Kishore Music: Thaman Cast: Akhil, Bhagyashree, Eeshwari Rao, Pramod, Brahmaji, and others"},"img":{"url":"https://images.prismic.io/prad/SNyf-1iLls6NrA-j_lenin.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-07-10T07:34:00+0000","embed":{"embed_url":null}},"uid":"review-lenin"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Rao Bahadur'"},"content":{"text":"Satyadev has carved a unique niche for himself as an actor by choosing diverse films. Meanwhile, director Venkatesh Maha has already earned a strong reputation for delivering distinctive movies. Expectations soared when a superstar like Mahesh Babu stepped forward to present this collaboration between the two. Let us see in this review whether the film lives up to those expectations. Story: Bhuvanam Ramappa Rao Bahadur (Satyadev), a man of royal lineage, grapples with severe mental turmoil in his old age. He harbors suspicions regarding his younger son, Kusumappa—who passed away in childhood—doubting whether the boy was truly his biological son. Driven by this doubt, he clings to life for years despite suffering from cancer. Ramappa’s wife, Renuka, is also confined to a single room. The story unfolds by exploring the reasons behind Ramappa’s condition and Renuka’s confinement, as well as how it was ultimately confirmed that Kusumappa was indeed Ramappa’s son. Performances: A notable aspect of the film is that, apart from Satyadev, the entire cast consists of newcomers. It is commendable that Satyadev committed to such a role; not every actor could pull off a character like this. He delivered a brilliant performance, nailing the makeover, expressions, and body language. Satyadev truly embodied the persona of a scion of the Rao Bahadur lineage. He impressed everyone with a look that perfectly captured the persona of an elderly king. Furthermore, Satyadev deserves full marks for his acting and dialogue delivery. Generally, young heroes are reluctant to take on such roles, but Satyadev put in immense effort to breathe life into this character. It was revealed that the makeup process took four hours; seeing the 'Ramappa' character on screen, one feels that the actual time spent on makeup might have been even longer. Deepa Thomas, playing the female lead, impressed with her distinctive look. There is a growing opinion that she might secure good opportunities in Tollywood in the future. Vikas Muppala also impressed with his acting, and the supporting cast performed well within the scope of their roles. Venkatesh Maha, appearing in a guest role, also made a strong impression. Technical: Director Venkatesh Maha presented a completely fresh concept to the audience. However, the narrative pacing felt somewhat tedious. The first half moved slowly. While he attempted to pick up the pace in the second half, the twists introduced towards the end felt unintentionally funny. He failed in the attempt to blend humor into what otherwise seemed like a serious story. Some of the dialogues were good. The cinematography was impressive; it effectively brought the atmosphere of the 1960s and 1990s to life. The music was also decent. The songs failed to impress, but the background score was certainly impressive. The production values ​​are good; it is truly commendable that such a significant budget was allocated for an experimental story like this. There are flaws in the editing; some scenes in the first half should have been trimmed. Overall, the film would have benefited from a runtime reduction of 20 to 25 minutes. Analysis: Director Venkatesh attempted an experiment by utilizing a talented actor like Satyadev. Satyadev deserves praise for agreeing to be part of this experimental project. The story revolves around the consequences arising from a suspicion harbored by an elderly man. In an era where films generally achieve commercial success only with compelling storylines and narratives, Director Venkatesh brought this film to the audience without worrying about how such an experiment would be received. He attempted to drive the film using screenplay wizardry. Although the story itself is simple, his execution deserves appreciation. However, the inclusion of more thrilling elements would have improved the film; the first half, in particular, is somewhat underwhelming. The climax manages to generate interest, though the final twist lacks a sense of realism. Ultimately, instead of leaving the audience with the impression of having watched a serious film, the movie ends up feeling more like a comedy.  Plus Points: Satyadev Background music, cinematography Second half, climax Minus Points: Boring first half Illogical scenes Climax twist Verdict: 'Rao Bahadur' is for those looking to watch a thriller rather than a regular commercial movie. Banner: Sree Chakras Entertainments, Mahayana Motion Pictures Producers: Anurag Reddy, Sharath Chandra, Chinta Gopalakrishna Reddy, Eswaran Vijayaraghavan Directior: Venkatesh Maha Music: Smaran Sai Cast: Satyadev, Deepa Thomas, Vikas Muppala, Bala Parasar, Kunal Kaushik, and others"},"img":{"url":"https://images.prismic.io/prad/ruDZrQh1uyTKyATR_RaoBahadur.JPG?auto=format,compress"},"datetime":"2026-07-03T09:26:00+0000","embed":{"embed_url":null}},"uid":"review-rao-bahadur"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Nagabandham' "},"content":{"text":"South makers have done wonders once again. At a time when audiences are craving larger-than-life cinematic experiences rooted in Indian culture and mythology, Nagabandham arrives as an ambitious spectacle that blends mystery, mythology, fantasy and adventure into an engrossing big-screen entertainer. Foremost credit goes to the producers Nishitha Nagireddy and Kishore Annapureddy, the duo under the banners of NIK Studios and Abhishek Pictures, have given the film the scale, craft and budget it demands. The budget, the scale and the vision of the film is at par in comparison with some of the biggies. Mounted on a lavish scale, the film starts on a very intriguing note and right from the first frame it captures you into the world, the drama. As it progresses it continues to impresses with its visual ambition, the character introduction, immersive world-building and sincere storytelling, making it one of the most ambitious pan-India releases of the year. Without wasting any single time the film sticks to the subject. The unfolding of mysterious universe where ancient secrets, divine legends and hidden treasures shape the narrative. Rather than rushing through its mythology, the film gradually builds intrigue around the ancients and what 'Nagabandham' is. This measured approach keeps the audience invested while continuously expanding the film's rich cinematic universe. The film begins with the impresive introduction of Rishabh Sawhney who is olayiytge main antagonist in the film and then transports us to the drama that is very interesting. Director Abhishek Nama deserves appreciation for attempting a genre that demands conviction and imagination. His vision remains consistent throughout, balancing mythology with fantasy while ensuring the emotional core never gets lost beneath the visual grandeur. The screenplay unfolds like an adventure, introducing fresh mysteries at regular intervals and maintaining curiosity until the very end. Visuals are Nagabandham's undoubtedly the biggest strengths. Every frame reflects meticulous craftsmanship, from magnificent temple architecture and ancient kingdoms to breathtaking action sequences and mystical landscapes. The production values are first-rate, while the VFX complement the storytelling without overwhelming it. The film consistently feels designed for the biggest screens. Virat Karrna, who is essaying the main protoganist delivers a confident performance, carrying the narrative with sincerity and intensity. Nabha Natesh lends grace and emotional depth to her character, while Rishabh Sawhney leaves a strong impression with his commanding screen presence in the character of the main antagonist. Mahesh Manjrekar stands out in a pivotal role of saint ,adding gravitas whenever he appears. Daksha Nagarkar and the supporting cast contribute effectively, making the expansive world feel believable. The action choreography especially the Interval block and CLIMAX deserves special mention. Instead of relying solely on spectacle, the action sequences are integrated into the mythology, making every confrontation feel purposeful. Several moments involving serpents, ancient rituals and large-scale battles generate genuine goosebumps and showcase the makers' ambition. Technically, Nagabandham is polished across departments. The cinematography captures both the grandeur and mysticism beautifully, while the background score elevates the emotional and adventurous moments. The editing keeps the narrative engaging despite the film's expansive scale, and the sound design enhances the theatrical experience. One of the film's biggest achievements is how it respects Indian mythology while presenting it through an entertaining fantasy-adventure lens. Rather than merely recreating familiar legends, it creates its own mythology-inspired universe that feels fresh and cinematic. If there is one area where the film occasionally slows down, it is during portions dedicated to explaining the mythology, which may slightly affect the pace. However, the narrative quickly regains momentum with compelling twists, visually stunning sequences and emotionally satisfying payoffs. With Nagabandham, South filmmakers once again demonstrate why they continue to lead the way in creating ambitious, pan-India cinematic spectacles. The film combines mythology, fantasy, adventure and emotion into an entertaining package that is tailor-made for the theatrical experience. For audiences looking for a grand visual adventure filled with mystery, ancient legends, spectacular action and impressive world-building, Nagabandham is a rewarding watch. Banner: NIK Studios, Abhishek Pictures Producer: Nishitha Nagireddy, Kishore Annapureddy Director: Abhishek Nama Cast: John Vijay, Nabha Natesh, Iswarya Menon, Mahesh Manjrekar and others"},"img":{"url":"https://images.prismic.io/prad/S_t-IVjB2yqa78-Q_nagabandham.JPG?auto=format,compress"},"datetime":"2026-07-02T16:30:00+0000","embed":{"embed_url":null}},"uid":"review-nagabandham-"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Welcome To The Jungle'"},"content":{"text":"There was a time when Bollywood regularly produced big, unapologetic comedy entertainers that families could watch together. Films weren't trying to preach, surprise audiences with complicated twists or leave behind social messages. They existed for one simple reason—to make people laugh. Welcome To The Jungle embraces exactly that philosophy, and that's what makes it work. Director Ahmed Khan doesn't try to reinvent the Welcome franchise. Instead, he understands its DNA and amplifies it. The laughs are bigger, the cast is bigger, the scale is grander and the madness is turned up several notches. The result is a film that knows exactly what it wants to be—and rarely loses sight of it. The story itself is delightfully ridiculous. A billionaire comes up with an absurd plan to convert his black money into losses by deliberately producing a flop film. To execute this bizarre mission, he assembles a film full of struggling stars, forgotten heroes and eccentric personalities. Among them are Yeda Anna (Suniel Shetty), the brother of Anna from the Welcome universe, and Romeo (Arshad Warsi), Majnu's equally eccentric brother. Just when the production begins, an Income Tax raid wipes out the financier's money, forcing the crew to abandon the expensive setup and continue the shoot in a remote village with real people—while the actors remain blissfully convinced that everything happening around them is part of the script. From there, the film spirals into complete comic chaos involving mistaken identities, fake heroics, terrorists, villagers and nonstop confusion. If there is one actor who reminds audiences why he has ruled Bollywood comedy for decades, it is Akshay Kumar. This is comfortably one of his strongest comic performances in recent years. His expressions, dialogue delivery, body language and effortless timing hold the enormous ensemble together without trying to dominate it. He lets the humour breathe and trusts the situations to generate laughs. Suniel Shetty is undoubtedly one of the film's biggest surprises. His Yeda Anna is wonderfully eccentric and consistently entertaining, delivering several laugh-out-loud moments. Arshad Warsi slips into the franchise's familiar madness with ease, while Lara Dutta, as the Army trainer preparing the clueless actors, adds another enjoyable layer to the comedy. The supporting cast is where the film truly shines. Veterans like Paresh Rawal, Johnny Lever and Rajpal Yadav prove once again why they remain among Hindi cinema's finest comic performers. But the film's biggest scene-stealers are undoubtedly Farida Jalal and Kiran Kumar. Every single time they appear on screen, the theatre erupts in laughter. Farida Jalal's delightfully confused character, speaking in her own hilarious gibberish language, becomes one of the film's biggest highlights. Kiran Kumar matches her brilliantly with his exaggerated, heavily Urdu-laced dialogues delivered with complete conviction. Their chemistry, impeccable comic timing and effortless performances produce some of the loudest laughs in the film. There's another emotional layer that longtime Bollywood lovers will instantly appreciate. Watching Akshay Kumar reunite with Suniel Shetty and Raveena Tandon brings back memories of an era when entertainers were built around fun rather than formulas. Thankfully, these reunions never feel forced. They blend naturally into the narrative while allowing the film to create its own identity instead of living entirely on nostalgia. Managing such a massive ensemble is never easy, yet Ahmed Khan deserves credit for ensuring almost every actor gets at least one memorable moment. Despite featuring dozens of familiar faces, the screenplay rarely feels overcrowded. The humour constantly shifts between situational comedy, visual gags, witty one-liners, misunderstandings and complete comic mayhem, ensuring the energy rarely drops. The adventure angle also gives the franchise a refreshing twist. Instead of repeating the exact template of the earlier films, Welcome To The Jungle expands its canvas with larger action set pieces and a more adventurous narrative while still retaining the flavour that fans associate with the franchise. Visually, the film looks colourful and vibrant. The production design suits the exaggerated world perfectly, while the songs arrive naturally without disturbing the pace. The background score effectively enhances both the comic situations and the action sequences. What deserves appreciation is that the film never pretends to be more intelligent than it is. It doesn't chase awards, social commentary or emotional manipulation. It simply focuses on entertaining its audience for over two hours—and judging by the laughter echoing through the auditorium, it succeeds. Welcome To The Jungle is designed for the big-screen experience. Many jokes become funnier because they are enjoyed collectively. The whistles, applause and laughter inside a packed theatre become an extension of the film itself. That's something no OTT platform can replicate. Directed by Ahmed Khan, the film boasts one of the biggest ensemble casts in recent Hindi cinema, featuring Akshay Kumar, Suniel Shetty, Disha Patani, Jacqueline Fernandez, Arshad Warsi, Jackie Shroff, Paresh Rawal, Raveena Tandon, Lara Dutta, Farida Jalal, Johnny Lever, Shreyas Talpade, Tusshar Kapoor, Rajpal Yadav, Krushna Abhishek, Kiku Sharda, Daler Mehndi, Aftab Shivdasani, Mukesh Tiwari, Yashpal Sharma, Kiran Kumar, Zakir Hussain, Vindu Dara Singh, Urvashi Rautela, Hemant Pandey, Brijendra Kala, Feroze Khan (Arjun), Late Pankaj Dheer, Puneet Issar, Sudesh Berry, Jeetu Verma, Vrihi Kodvara, Adityaa Singgh and Bhagya Bhanushali. Presented by A.A. Nadiadwala, Cape of Good Films and Star Studios in association with Seeta Films and Rakesh Dang, the film is a Base Industries Group production produced by Rakesh Dang and Vedant Vikaas Baali, and produced by Firoz A. Nadiadwala. If your expectation is meaningful cinema, look elsewhere. But if you simply want to laugh, switch off your brain and enjoy a grand Bollywood entertainer with your family, Welcome To The Jungle delivers exactly what it promises. Sometimes, that's more than enough. Director : Ahmed Khan, Producer : Firoz A Nadiadwala Cast : Akshay Kumar, Suniel Shetty, Arshad Warsi and others"},"img":{"url":"https://images.prismic.io/prad/aj1hFVbRV8_Qf44R_welcometothejungle.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-25T15:45:00+0000","embed":{"embed_url":null}},"uid":"review-welcome-to-the-jungle"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Cocktail 2'"},"content":{"text":"Some relationships don’t end because people stop loving each other. They end because love alone isn’t always enough. Backed by Maddock Films and producer Dinesh Vijan, a banner known for delivering some of the most memorable entertainers and relationship dramas in recent years, Cocktail 2 is yet another winner. Directed by Homi Adajania, the film explores modern relationships with warmth, maturity and emotional honesty, resulting in a story that feels both deeply personal and universally relatable. While the original film thrived on youthful chaos, Cocktail 2 takes a more mature route. It examines what happens when comfort begins to replace excitement, when commitment feels heavier than romance, and when life forces people to question whether the relationship they’ve built is still the one they truly want. The Story: Kunal (Shahid Kapoor) and Diya (Rashmika Mandanna) have been together for years. What started as a college romance has survived distance, changing priorities and the challenges of adulthood. Their relationship is comfortable, familiar and seemingly stable, but beneath the surface, cracks have begun to appear. Diya finds herself grappling with expectations around marriage and commitment, while Kunal continues holding on to a version of their relationship that may no longer exist. Their lives take an unexpected turn during a trip to Sicily, where they meet Ally (Kriti Sanon), a free spirited woman who lives entirely on her own terms. As the three grow closer, the film gradually unfolds into something far more complex than a traditional love triangle. Friendships blur into emotional attachments, loyalties are tested and difficult questions emerge about love, compatibility and personal happiness. What makes the narrative work is that it never reduces its characters to heroes or villains. Everyone is flawed, everyone makes mistakes and that honesty gives the film its emotional weight. Performances: Shahid Kapoor delivers one of his most mature performances in recent years. Kunal is a character filled with contradictions and Shahid captures every shade beautifully. Whether he’s expressing quiet heartbreak, frustration or vulnerability, he keeps the audience invested throughout. Rashmika Mandanna brings warmth and authenticity to Diya. Many of her moments feel incredibly relatable, particularly when she navigates the pressures placed on women regarding relationships and life choices. She handles both the lighter and emotionally intense scenes with confidence and restraint. Kriti Sanon is exceptional as Ally. What initially appears to be a carefree and impulsive character slowly reveals surprising emotional depth. Kriti balances Ally’s charm, unpredictability and vulnerability effortlessly, creating one of the film’s most memorable performances. Together, the trio share terrific chemistry. Their interactions feel natural and lived-in, making every friendship, confrontation and emotional conflict feel genuine. Kriti and Rashmika also share some thoroughly entertaining moments, adding another engaging layer to the film’s relationship dynamics. Writing, Dialogues and Relationships: One of the film’s biggest strengths is its writing. The relationships feel layered and believable, with conversations that reflect how people actually communicate rather than how movie characters are expected to speak. The dialogues are sharp, mature and emotionally effective. Several confrontations land with impact because they come from a place of truth rather than melodrama. The film consistently keeps you invested in its characters and the choices they make, while balancing romance, friendship and self-discovery with remarkable ease. Music and Visuals: Pritam’s music blends seamlessly into the storytelling, elevating both the emotional and romantic moments. The songs never interrupt the narrative and instead become a natural extension of it. Visually, the film is stunning. Sicily provides a breathtaking backdrop, with every frame looking postcard worthy without ever feeling excessive. The cinematography, fashion and overall production design add tremendous richness to the viewing experience, making the film as beautiful to look at as it is emotionally engaging. What Could Have Worked Better: A few emotional stretches in the latter half could have been slightly more concise. The Verdict: Cocktail 2 is a beautifully crafted film about love, friendship, self discovery and the difficult choices that come with growing up. It doesn’t offer easy answers and that’s precisely what makes it work. Produced by Maddock Films and Luv Films, backed by outstanding performances from Shahid Kapoor, Kriti Sanon and Rashmika Mandanna, thoughtful writing, gorgeous visuals and strong emotional payoffs, the film delivers a deeply satisfying experience. A heartfelt, visually stunning and emotionally resonant drama that reminds us that sometimes the hardest part of love isn’t finding it, it’s understanding what to do with it once you have it. The result is a relationship drama that stays with you long after the credits roll. Banner: Maddock Films and Luv Films Producer: Dinesh Vijan Director: Homi Adajania Music: Pritam Cast: Shahid Kapoor, Rashmika Mandanna, Kriti Sanon and others"},"img":{"url":"https://images.prismic.io/prad/ah7YRgeQX7-eWjSA_cocktail2.JPG?auto=format,compress"},"datetime":"2026-06-19T04:48:00+0000","embed":{"embed_url":null}},"uid":"review-cocktail-2"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Maa Inti Bangaram'"},"content":{"text":"At a time when it was widely assumed Samantha had limited her career to Bollywood, all eyes are on this Telugu film she has undertaken. It is well known that Samantha has previously worked under Nandini Reddy's direction; their collaboration naturally generates positive buzz. Furthermore, expectations have soared because the film is produced by Raj Nidimoru. Let us see in this review whether the movie lives up to those expectations. Story: Swarna (Samantha), who entered into a love marriage with Anirudh (Diganth Manchale), steps into her in-laws' home after a long time due to certain circumstances. She struggles to fit into the joint family environment. Despite the difficulties, she makes earnest efforts to bond with the family members and win their approval. Swarna carries a past—a flashback—associated with her love marriage. This flashback becomes the source of emerging problems within her in-laws' household.  What are these problems? What exactly is Swarna's flashback? To find out what Swarna did at her in-laws' house, one simply has to watch the movie. Performances: Samantha’s acting needs no special introduction. The action sequences she performed in this film are impressive; seeing her execute action scenes while dressed in a traditional saree felt fresh and novel. She delivered a performance that felt distinct—and even better—than her work in previous films. Beyond action, she also showcased her acting prowess in emotional and dramatic scenes. It is evident that she poured her experience into the role, truly doing justice to the character of Swarna. Her appearance seemed slightly different compared to the past, but that change suited the character perfectly.  Overall, Samantha succeeded in fully justifying the role she chose. The supporting cast performed well within the scope of their roles; Gulshan Devaiah, in particular, stood out, and his portrayal of the villain was impressive. Gautami had limited screen time but made a good impression within that scope. Sreemukhi also impressed with a different look. Technical: Director Nandini Reddy has once again presented a unique concept to the audience, and her direction is impressive. The storytelling and screenplay could have benefited from a bit more detail. Some of the dialogues are excellent, particularly those in the emotional scenes, which are truly touching. The music is decent; one or two songs have already gained popularity among the audience, though there isn't much else to highlight regarding the soundtrack beyond those tracks.  However, the background score was impressive. The cinematography was good; Om Prakash’s work made the action scenes appear quite realistic, ensuring the film remained engaging. The cinematography also deserves praise for how it presented Samantha’s look. The production values ​​align well with the story. Apart from minor editing flaws, everything else was solid. Analysis: The mere mention of a Samantha film generates audience interest comparable to that of movies starring big male stars. Director Nandini Reddy lived up to this expectation by weaving the story around a massive flashback sequence, much like those seen in big-star films. However, there are some illogical scenes. More care could have been taken with the dramatic elements; specifically, the portrayal of the new daughter-in-law's conduct in her in-laws' home didn't feel quite right.  Additionally, there were some issues in seamlessly connecting the flashback episode to the present-day narrative. An effort was made to deliver good entertainment. Overall, the film appeals to the average viewer, particularly family audiences. If one overlooks a few illogical scenes, the movie is enjoyable. It is a must-watch for Samantha’s fans and serves as a good \"time-pass\" movie for general audiences. Plus Points: Samantha, Flashback scenes, Action sequences.  Minus Points: Some illogical scenes, Boring moments here and there, Lack of mass elements. Verdict: A film that Samantha's fans will appreciate Banner: Tralala Moving Pictures Producers: Samantha, Raj Nidimoru, Himank Reddy Duvvuru Director: B.V. Nandini Reddy Music: Santhosh Narayanan Cast: Samantha, Sreemukhi, Gulshan Devaiah, Diganth Manchale, Gautami, Srinivas Gavireddy, and others"},"img":{"url":"https://images.prismic.io/prad/ajUbm41P9HI4UuRN_MIB.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-19T07:36:00+0000","embed":{"embed_url":null}},"uid":"review-maa-inti-bangaram"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Hai Jawani Toh Ishq Hona Hai'"},"content":{"text":"Some films are designed to make you think. Others are designed to make you laugh till your cheeks hurt. Hai Jawani Toh Ishq Hona Hai, directed by David Dhawan, proudly belongs to the latter category. Loaded with misunderstandings, larger-than-life characters, romance, family drama and non-stop comedy, the film embraces the classic Bollywood entertainer template and delivers exactly what it promises. Written by David Dhawan with screenplay by Yunus Sajawal and dialogues by Farhad Samji, the film thrives on its energetic storytelling and unapologetically chaotic humour. The Story: At the heart of the film is Jass, a lovable and impulsive man whose life takes an unexpected turn when personal relationships, family expectations and a series of unfortunate circumstances collide at the same time. Without revealing too much, the story follows Jass as he finds himself caught in an increasingly complicated situation involving his estranged wife Baani and Preet, a woman who unexpectedly enters his life. What begins as a relationship drama soon snowballs into a full-fledged comedy of errors, leading to a chain of misunderstandings, secrets and hilarious situations. The narrative constantly throws Jass from one problem into another, ensuring there is never a dull moment. While the premise is outrageous, the film fully commits to its madness, making the ride entertaining from start to finish. Performances: Varun Dhawan is in his element as Jass. His comic timing, boundless energy and natural screen presence carry the film effortlessly. He understands the rhythm of David Dhawan's brand of comedy and delivers a performance that is both charming and consistently entertaining. Mrunal Thakur brings warmth and emotional depth to Baani, ensuring that the character remains relatable amidst the chaos unfolding around her. She balances the film's emotional moments effectively and shares a comfortable chemistry with Varun. Pooja Hegde lights up the screen as Preet. Confident, glamorous and full of spark, she adds freshness to the narrative and keeps the momentum alive whenever she appears. Among the supporting cast, Maniesh Paul is a scene stealer, delivering several laugh-out-loud moments with effortless ease. Jimmy Sheirgill, Chunky Pandey, Kubbra Sait, Rakesh Bedi and Mouni Roy contribute well to the ensemble, each adding their own flavour to the madness. Dialogues and Humour: Farhad Samji's dialogues play a major role in keeping the entertainment quotient high. The punchlines land well, the situational comedy works and several one-liners are likely to draw applause from audiences in packed theatres. The film embraces old-school Bollywood comedy while updating it for contemporary viewers, creating a blend that feels familiar yet accessible. Music and Technical Aspects: The music complements the film's upbeat tone, while the vibrant visuals and colourful production design add to its festive appeal. David Dhawan keeps the pace brisk for most parts, ensuring the narrative rarely loses momentum. What Could Have Worked Better: Some comedic stretches feel slightly overextended and a few situations require audiences to completely suspend disbelief. However, these are minor concerns in a film that is more interested in entertaining than being realistic. Final Word: Hai Jawani Toh Ishq Hona Hai is a quintessential David Dhawan entertainer that embraces confusion, comedy and chaos with complete conviction. Powered by Varun Dhawan's infectious energy, solid support from Mrunal Thakur and Pooja Hegde, and plenty of laugh-out-loud moments, the film delivers a thoroughly enjoyable big-screen experience. If you're looking for logic, this may not be your destination. If you're looking for laughter, fun and a dose of classic Bollywood masala, this film delivers in abundance."},"img":{"url":"https://images.prismic.io/prad/aiKZMAeQX7-eW1yO_HaiJawaniTohIshqHonaHai.jpg?auto=format,compress"},"datetime":"2026-06-05T03:39:00+0000","embed":{"embed_url":null}},"uid":"review-hai-jawani-toh-ishq-hona-hai"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Peddi'"},"content":{"text":"Buchi Babu grabbed everyone's attention with his debut film, 'Uppena'. Having grossed over 100 crores with his very first movie, he caught the eye of several star heroes. Even NTR expressed interest in working with him. A project with NTR was confirmed; however, for various reasons, it never materialized.  Buchi Babu subsequently spent the last two years collaborating closely with Ram Charan to bring this film to life. Given the massive hype surrounding it, let's see how the movie actually turned out in this review. Story: The story of 'Peddi' revolves around the journey of a 'sports laborer'—a man named Peddi (Ram Charan)—who is driven by an unwavering determination to showcase the existence of his village to the world. Hailing from a village that doesn't even have a name, Peddi earns his livelihood as a sports laborer. While he has built a good reputation as a cricketer, he eventually comes to believe that true recognition for his village can be achieved not through cricket, but through wrestling. However, recognition for the village does not come through wrestling either. So, how did the entire world eventually come to talk about this nameless village—exactly as 'Peddi' had wished? What daring feat did 'Peddi' undertake to make that happen? That forms the crux of the story.  Performances: Ram Charan’s performance is magnificent. Throughout the entire first half of the film, he captivates the audience in his role as a cricketer. He appears to execute spectacular shots, just like a professional cricketer would; indeed, one feels as though they are watching a genuine cricketer in Ram Charan. It is often said that Ram Charan naturally excels in emotional scenes, and there is absolutely no doubt that he truly lived the emotional moments leading up to the interval and during the film's climax. Furthermore, he elevated the musical numbers to extraordinary heights through his dancing—going above and beyond what was expected. Ram Charan showcases his absolute best dancing skills in this movie. He also impresses equally in both the action sequences and the sports-centric scenes. As for the female lead, Janhvi Kapoor—while she is credited as the heroine, she has very little scope to perform and is not an integral part of the core narrative. Moreover, her screen presence is shockingly brief. Janhvi Kapoor practically disappears entirely during the second half of the film. However, it must be noted that she did manage to grab some attention in the first half by flaunting her physique.  Jagapathi Babu, who appears in the first half, delivers a captivating performance in his emotional scenes. Meanwhile, Kannada superstar Shivarajkumar impresses in his role as a wrestling mentor; his mere look alone wins over half the audience, and his acting prowess requires no special mention. Finally, it must be stated that none of the other supporting characters were given any significant prominence. Technical: The film's music has been a prominent topic of discussion right from the very beginning. Director Buchi Babu made a deliberate and specific choice to enlist A.R. Rahman as the music director for the film. Consequently, everyone anticipated that 'Peddi' would capture the audience's attention primarily through its musical elements. True to expectations, the songs proved to be a resounding success. Furthermore, the background score was equally impressive; with the exception of one or two isolated moments, Rahman's background music was captivating throughout the rest of the film. The cinematography also earns high marks. A commendable effort was made to authentically depict the atmosphere and conditions of the 1990s era. The camera work was particularly effective in a few sequences—most notably during the sports scenes. The first half of the film felt somewhat dragged out, suggesting that the editing could have been tighter. The production values, however, were excellent. Director Buchi Babu selected a compelling core concept; yet, it felt as though he was unable to craft a screenplay that did full justice to that premise. Some of the dialogues were well-written. Analysis: Buchi Babu has garnered a strong reputation as a director who managed to achieve a ₹100-crore box office collection with his very first film. Moreover, since the outset, there has been considerable buzz suggesting that he is in no way inferior to his mentor, Sukumar. Reports have surfaced claiming that this particular story—which was originally penned with NTR in mind—was ultimately filmed with Ram Charan. Leaving aside the veracity of those reports, it appears that Ram Charan gave his approval to the project based solely on the strength of the story's core premise. However, watching the film makes it evident that a compelling premise alone is not sufficient to carry an entire movie. The narrative centers on the protagonist participating in three distinct sports to showcase the existence and identity of his hometown to the world. Given this premise, it was imperative that the portrayal of these specific sports be significantly elevated and given greater prominence within the film. Apart from cricket, no other sport was given significant prominence.  The first half dragged on in a boring manner. The second half was somewhat passable, barring a few emotional scenes. It must be said that Director Buchi Babu failed to effectively showcase the sports elements—which are absolutely crucial to the screenplay. With the exception of a few sequences, the majority of the film feels tedious. However, there is no doubt that this serves as a delightful treat for Ram Charan's fans. Viewed from a fan's perspective, the film earns high marks; yet, it must be acknowledged that for a regular moviegoer, it may not quite hit the mark. Plus Points: Ram Charan A few sports sequences The songs Minus Points: The slow pacing of the first half The screenplay The heroine's role The lack of prominence given to the villains Conclusion... The 'Peddi' games are boring. Banners: Vriddhi Cinemas, Mythri Movie Makers Producers: Venkata Satish Kilaru, Ishan Saxena Direction: Buchi Babu Music: A.R. Rahman Cast: Ram Charan, Janhvi Kapoor, Shiva Rajkumar, Jagapathi Babu, Divyendu, Boman Irani, Upendra, Satya, Chammak Chandra, and others"},"img":{"url":"https://images.prismic.io/prad/aiCF9AeQX7-eWrDe_peddi.jpg?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-03T19:52:00+0000","embed":{"embed_url":null}},"uid":"review-peddi"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: Made in India – A Titan Story"},"content":{"text":"Rarely does a series manage to be both inspiring and cinematically gripping—but Made in India – A Titan Story achieves exactly that, and does it with remarkable finesse. The Story: Where Vision Meets Legacy   At its core, the series is a tribute to belief—the kind that builds institutions. It traces the journey of Xerxes Desai, a man driven by vision, and the unwavering faith J.R.D. Tata placed in him. What unfolds is not just the story of Titan Watches, but of an idea that refused to stay small. It is about ambition, risk, and the quiet power of trust that turns dreams into legacy. Performances That Stay With You   Jim Sarbh delivers one of his most layered performances to date. His portrayal of Xerxes Desai is controlled yet deeply emotional, capturing the vulnerability and determination of a man chasing something bigger than himself. Naseeruddin Shah, as J.R.D. Tata, is understated brilliance. Even with limited screen time, his presence defines the emotional spine of the series—commanding, graceful, and quietly powerful. The ensemble cast adds richness to the narrative. Each character feels lived-in and purposeful—whether it’s Namita Dubey’s sincerity, Lakshveer Saran’s emotional weight, or Kaveri Seth’s authenticity. Supporting performances from Vaibhav Tatwawadi, Paresh Ganatra, Ashwath Bhatt, Viraf Patel, Joy Sengupta, and Prateeksha Lonkar create a world that feels real and immersive. Craft, Scale, and Storytelling :  Director Robbie Grewal handles the material with precision and maturity, allowing the story to breathe while maintaining a steady narrative grip. The storytelling never feels rushed, yet never loses momentum. The writing by Karan Vyas is sharp and confident, with dialogues that feel organic yet impactful. Visually, the show carries a cinematic scale—elegant production design, carefully chosen locations, and a background score that subtly amplifies the emotional beats. The integration of classic music adds texture without overwhelming the narrative. Final Word: Backing a story like this requires both courage and conviction, and Almighty Motion Picture deserves credit for bringing it to life. Co-produced with T-Series Films, Made in India – A Titan Story is not just a series—it’s an experience that fills you with immense pride for India and reminds you of the power of vision, perseverance, and nation-building. Patriotism naturally seeps in as the story unfolds. It’s one of a kind story that inspires, engages, and stays with you long after it ends."},"img":{"url":"https://images.prismic.io/prad/ah_UIAeQX7-eWo7C_madeinindia.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-06-03T05:14:00+0000","embed":{"embed_url":null}},"uid":"review-made-in-india--a-titan-story"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Drishyam 3'"},"content":{"text":"This film serves as a sequel to 'Drishyam 1' (released in 2013) and 'Drishyam 2' (released in 2021). With the 'Drishyam' franchise, Jeethu Joseph garnered a nationwide fan base. Consequently, whenever a new 'Drishyam 3' installment is announced, it immediately sparks immense curiosity among audiences.  Venkatesh had previously remade the first two 'Drishyam' films, bringing them to the Telugu audience. However, for this third installment, Mohanlal himself has presented the film directly to the Telugu audience today. Despite being a dubbed film, the expectations and interest among the Telugu audience are exceptionally high. Let's see in this review whether the film lives up to those expectations. Story: George (Mohanlal) produces a feature film titled 'Drishyam', based on the actual events that unfolded in his own life. The movie receives a positive reception and garners massive box-office collections. Meanwhile, discussions regarding Varun's murder resurface once again. As the topic of Varun's murder gains traction on social media, George begins looking for suitable alliances to arrange the marriage of his eldest daughter, Anu.  In this sequence of events, Varun's father, Prabhakar (Siddique), devises a plan to reopen the Varun murder case and execute an arrest precisely on the day of Anu's wedding. However, George cleverly manages to evade capture. Nevertheless, George and his family members find themselves in deep trouble due to another plan orchestrated by Prabhakar.  What are these troubles? And how does George manage to protect his family from them? That forms the crux of the film's story. Performances: Just as he impressed audiences with his nuanced and understated acting in the first two installments, Mohanlal once again delivers a captivating performance in this film as a responsible and devoted father. In particular, the anguish he portrays in certain scenes makes him feel truly like a real-life father. There is absolutely no doubt that Mohanlal has delivered a stellar performance as an average father who constantly worries about the future of his two daughters—never going overboard, yet never holding back. There isn't much to say regarding Meena's role, as she was given very little scope to showcase her acting prowess. However, she was impressive in terms of her appearance in the role of a mother, and she performed aptly in accordance with the demands of a character who is a mother to two children. The actresses who played George's daughters were also impressive; their characters have been a continuous presence since the very first installment. Much like in the first two films, their acting and on-screen presence were captivating in this installment as well. However, it must be noted that in this particular film, their screen time and scope for acting were significantly limited. As for the actors playing the supporting roles, their performances were decent and adequate for their respective characters.  Technical: Music director Anil Johnson does not appear to have put in much effort. He relied heavily on the background score used in the first installment. During suspense sequences, the music felt formulaic and uninspired; it should have been composed in a manner that heightened the intrigue.  There are significant flaws in the editing; specifically, many scenes in the first half felt dragged out. Despite the first half being relatively short in duration, it still came across as boring. It appears that director Jeethu Joseph focused more on the protagonist's character and on maintaining the suspense than on the narrative itself this time around.  The production values, as always, remained modest and aligned with the requirements of the story. Analysis: For audiences who have previously watched both installments of the 'Drushyam' franchise in Telugu, watching the dubbed version this time around might feel somewhat unfamiliar. In other words, viewers accustomed to seeing Venkatesh and the other actors in those roles across the first two films may feel slightly disoriented upon seeing Mohanlal and the Malayalam cast. Many scenes also retain a distinct \"Malayalam flavor,\" placing the film quite far removed from a typical Telugu cultural context.  Consequently, it may not be particularly easy for Telugu audiences to fully connect with the story. Nevertheless, for those who enjoyed the previous two installments of the 'Drushyam' franchise, this film is worth a one-time watch. The first half unfolded very slowly and failed to effectively draw the audience into the narrative. Conversely, the second half felt rushed, as if hurrying to reach the climax. Some of the suspense sequences felt forced and shoehorned into the plot.  However, one or two of the twists introduced within the story were engaging. However, on the whole, it must be admitted that the film failed to captivate audiences in the way its predecessors did. Towards the end, a hint was dropped suggesting the possibility of a 'Drishyam 4'. It remains to be seen when that installment will arrive and what form it will take. Plus Points: Mohanlal's performance, The twists in the plot, The main storyline. Minus Points: Slow-paced screenplay in the first half, Editing, Lack of prominence given to characters other than George. Conclusion: This Malayalam 'Drishyam' sequel feels somewhat forced Banner: Aashirvad Cinemas Producer: Antony Perumbavoor Direction: Jeethu Joseph Music: Anil Johnson Cast: Mohanlal, Meena, Ansiba Hassan, Esther Anil, Asha Sharath, Shanthi Mayadevi, and others"},"img":{"url":"https://images.prismic.io/prad/ag7UpaYofJOwHelj_Drushyam3.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-05-21T09:20:00+0000","embed":{"embed_url":null}},"uid":"review-drishyam-3"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: 'Aakhri Sawal'"},"content":{"text":"There are films that entertain, there are films that provoke, and then there are films like Aakhri Sawal that arrive like a storm and force an entire nation to confront the questions it has avoided for decades. Directed by Abhijeet Mohan Warang and Produced by Nikhil Nanda, this hard-hitting political drama is not designed to comfort the audience. It is designed to challenge them, disturb them, and leave them thinking long after the credits roll. At a time when mainstream cinema often plays safe, Aakhri Sawal chooses courage. The film openly touches upon some of the nation’s most controversial and emotionally charged subjects — from the demolition of the Babri Masjid to the assassination of Mahatma Gandhi — and raises questions that generations have debated but never fully answered. What makes the film even more shocking is the unapologetic honesty with which these conversations are presented. The narrative dares to ask whether organizations like the RSS had deeper involvement in these historic events, and the way the film lays out its perspective and facts leaves the audience stunned. There are moments where the sheer boldness of the writing genuinely makes your jaw drop. Sanjay Dutt delivers what can easily be called one of the most intense performances of his career. This is not the larger-than-life Sanjay Dutt audiences are used to seeing. This is a restrained, wounded, fearless performer carrying the weight of history, anger, and truth in his eyes. Every dialogue lands with impact, and every silent moment speaks even louder. His performance elevates the film from being just politically relevant to emotionally unforgettable. The biggest surprise package, however, is Namashi Chakraborty. He emerges as the soul of the film and proves that he is far more than what audiences expected. His sincerity, emotional depth, and screen presence add an unpredictable energy to the narrative. Several scenes involving him leave a lasting impact and showcase an actor ready for much bigger recognition. One of the strongest aspects of Aakhri Sawal is its newsroom debate sequences. These portions are written with remarkable intensity and intelligence, constantly keeping the audience intrigued. The confrontations feel raw and real, almost like watching a nation argue with itself on screen. Some sequences are so emotionally charged and haunting that they genuinely stir your soul. Visually, the film maintains tension throughout. Every frame carries weight and purpose, ensuring that the audience remains invested till the very end. The storytelling never loses grip despite dealing with layered political and historical themes. Instead of becoming preachy, the film remains emotionally engaging and deeply human. The supporting cast including Amit Sadh, Sameera Reddy, Neetu Chandra and Tridha Choudhury deliver some of their most impactful performances ever, adding further strength to the film’s emotionally heavy narrative. Producer Nikhil Nanda deserves appreciation for backing a subject this fearless and uncompromising. Aakhri Sawal does not feel like just another film. It feels like a conversation India was never prepared to have openly. Bold, unsettling, emotional, and brutally honest, the film succeeds in doing what very few political dramas achieve it makes the audience uncomfortable while also keeping them completely engaged. This is courageous cinema in its purest form."},"img":{"url":"https://images.prismic.io/prad/agbLRqYofJOwHQ43_aakhrisawal.JPG?auto=format,compress&rect=0,0,2028,1000&w=2028&h=1000"},"datetime":"2026-05-15T06:29:00+0000","embed":{"embed_url":null}},"uid":"review-aakhri-sawal"}},{"node":{"tags":["Entertainment"],"data":{"title":{"text":"Review: Daadi Ki Shaadi"},"content":{"text":"The film revolves around Kapil, who is navigating an arranged marriage setup when he meets Sadia Khateeb, his prospective match. Just when things begin to settle into a traditional roka, the situation takes an unexpected turn, Sadia’s daadi announces her own decision to get married, completely shifting the emotional and social dynamics of the family. The story moves to Shimla, where the daadi (Neetu Kapoor) lives alone. Her two sons and daughter rush to Shimla after reading online about her decision to remarry at this age, especially as her phone is switched off, leaving them worried and unable to reach her. Caught in the middle of this chaos is Kapil, who is deeply in love with Sadia Khateeb. Even after his own roka is called off under the belief that his union cannot continue if the daadi is remarrying, he chooses to stay connected to Sadia. He eventually joins the family’s chaotic mission, though with a very different intent: to stop the daadi’s wedding and salvage his own love story in the process. What unfolds is a mix of emotional clashes, comedic misunderstandings, and generational conflict, eventually building towards a surprisingly heartfelt resolution that touches upon family, acceptance, and letting go. Performances: Neetu Kapoor is the undeniable anchor of the film, delivering a graceful yet fearless performance as the daadi. She brings warmth, dignity, and emotional unpredictability, making her character both endearing and impactful. Kapil Sharma balances humour and emotion with ease. His performance feels natural, especially as his character transitions from a hopeful groom to someone emotionally entangled in a much larger family conflict. Sadia Khateeb lends quiet strength to her role, portraying confusion, affection, and emotional restraint with sincerity. She remains the emotional bridge between the chaotic family dynamics. The supporting cast, playing the daadi’s children, effectively drives the central conflict, bringing in frustration, humour, and generational resistance that fuels the narrative. Direction and Writing: The film stands out for its emotional clarity and grounded storytelling, leaning into relatable family dynamics and human reactions. The writing is on point and effective, allowing situations to unfold naturally rather than forcefully. Ashish R Mohan’s direction is confident and patient, often letting silence, reactions, and awkward family exchanges carry as much weight as dialogue. This gives the film its authenticity and emotional depth. Music and Visuals: The music complements the narrative without overwhelming it, subtly enhancing emotional and light-hearted moments. Visually, the film maintains a warm, accessible tone, making the world feel familiar and lived-in. Verdict: A heartfelt, well-crafted family entertainer that blends generational conflict, humour, and emotion into a cohesive experience. It works because of its sincerity and its ability to find humour within emotional chaos. Final Word: Warm, chaotic, and deeply human, this is family cinema done right."},"img":{"url":"https://images.prismic.io/prad/af2G8qYofJOwG-KX_KapilDaadiKiShaadi.png?auto=format%2Ccompress&rect=0%2C0%2C874%2C431&w=2028&h=1000"},"datetime":"2026-05-08T05:59:00+0000","embed":{"embed_url":null}},"uid":"daadi-ki-shaadi-movie-review"}}]}},"pageContext":{"isCreatedByStatefulCreatePages":true}}